PAUL WILLIAMS STILL ALIVE

In many respects, the 1970s were very kind to Paul Williams. His image was unforgettable: vertically challenged with a shoulder length, blond shag framing a face that hid behind ever-present, tinted, aviator glasses.

Ubiquitous

Making Johnny Carson crack up, co-hosting The Mike Douglas Show, guesting on The Love Boat, singing “Rainbow Connection” with Kermit the Frog, picking up armloads of Grammys, cracking wise on The Hollywood Squares...Christ, he even had his own show at one point.

It wasn't all about starring in Smokey and the Bandit movies, though.

Williams had a rare gift for turning out hit songs. He scored an Oscar for "Evergreen" and five additional nominations (including one for The Muppet Movie's "Rainbow Connection") and co-wrote The Love Boat theme for the small screen. Add to this a string of pop hits like The Carpenters' "Rainy Days and Mondays", "We've Only Just Begun", and Three Dog Night's "Old Fashioned Love Song" to name only a few examples and you begin to envision a mountain of publishing royalties that could sustain a person through several comfortable lifetimes.

Then he just vanished.

Hard core drug and alcohol addiction was the lesser known side to Williams' wild ride through the seventies and eighties. Director Stephen Kessler, fascinated with the performer who was his childhood idol, had assumed that Williams had died. Turns out he was very much alive, 20 years sober after facing down his demons and very different from the slick TV stalwart whom Kessler had once adored. The director spent more than two years traveling with and filming Williams. The result?

Paul Williams Still Alive

Williams turns 71 today and is very grateful that he's around to see this film. For others who had walked the same path, this would be a posthumous exploration of their career. The documentary has earned critical praise on initial screenings and will likely renew interest in Williams' work.

Here's a recent interview with the man himself.

NEW WILCO DISC-THE WHOLE LOVE

Wilco will officially release The Whole Love on September 27th. Listened to the free stream of the disc on Sept 4th. It's pretty stellar. Review coming soon.

FORGOTTEN MUSIC THURSDAY-NEIL YOUNG TRANS

TRANS

One of the most misunderstood records that Neil Young has ever let loose on an unsuspecting public, Trans was slightly ahead of its time. He wasn’t the first artist to delve into synthetic music, although it was a jarring 180 degree turn in terms of what had come before. “Changeable Charlie” had outdone himself.

Throughout the seventies, he was at the top of his game. Capping an amazing, ten year run with Rust Never Sleeps in 1979, well-deserved critical accolades flowed from every rock scribe.

Young entered the eighties by putting out two discs that, sonically, did not stray very far from previous territory. The big difference was that both Hawks and Doves (1980) and Reactor (1981) lacked the spark that had fueled his best work. The magician clapped his hands and nothing appeared. Few were aware of the very tough personal circumstances that he and his family were facing in dealing with a special needs child. Adversity inspired the concept for his next project.

Computer Age

Reactor had been greeted with indifference, both critically and commercially. Young felt that his record company, Reprise, had failed to support it and had not followed through on some of his requests involving promotion.

Enter David Geffen.

Prior to his move over to Geffen Records, Neil had already begun the work for what would eventually become Trans. He actually had the carcass of another project (Island in the Sun) recorded, though it left Geffen executives unimpressed when it was offered up for a listen. Three of these tracks would be included on Trans, unchanged. Others would be stripped of the contributions made by those involved in these sessions, their parts digitally replaced.

Young often appeared as an otherworldly presence to most people, save for his close friends and family. The metallic, alien feel of electronic music was a good fit for a guy who had always been interested in the technical side of things, whether it was tied to advances in model railroad construction or the latest developments in digital recording. For the Trans tour, he played the role of robotic, new wave messenger very convincingly. Hair cropped, he stalked the stage in black, wrap-around shades with his wireless mic triggering a chilly, inhuman vox, courtesy of the Sennheiser Vocoder VSM201. All of this sailed over the heads of audiences who had not heard a note of the new disc, which wouldn’t come out until the end of that year.



Though it is thematically out of step with the rest of Trans, “Little Thing Called Love” was chosen to open and is a definite highlight. Featuring an incredibly catchy chorus, it also sports an acoustic riff following the turnaround that he would recycle a decade later as the cornerstone of the song “Harvest Moon”.

Wasting no time, he then leaps behind the wheel of the DeLorean, puts his foot down and flashes forward to a distant future that marches to the pulse of an unrelenting synclavier. Who else but Neil could have foreseen the sordid business of hacking in cyberspace and written about it in 1982? Check out "Computer Cowboy (AKA Syscrusher). There was also some prescience (and a dry wit) involved with “Sample and Hold”, which explored the possibilities of robot matchmaking. Social networking for the artificially intelligent. Who knew?

Living on the bleeding edge of technology does come with a price tag. “We R in Control” paints an austere picture of future government, structured as a cold, cyber-dictatorship.

We control the TV sky.
We control the FBI.
We control the flow of heat.
We will prevail, and
Perform.
Our.
Function.

This theme has crept into works of fiction since the advent of the mechanical age, taken up in greater detail by the likes of Orwell, Rand and Huxley. Young's vision did not dwell on this warning of enslavement by grim, virtual overlords. Taking random snapshots, love still prevailed amongst the machinery. Beneath the veneer of circuitry beats a very human heart, though the back cover artwork reveals its power source to be transistors and microchips. His genius here lies in coupling raw emotion with icy data, revealing man and machine as one. Neil also saw fit to craft great melodies around his subject matter.

“Transformer Man” is one of his finest.

In context, the lyrics read as a vow to break through the communication barrier between him and his son Ben, who was born with severe cerebral palsy, which left him as quadriplegic and unable to speak.

So many things still left to do
But we haven’t made it yet…
Unlock the secrets.
Let us throw off the chains that
Hold you down.

Following the pattern that characterized much of his writing, Young’s message was carefully veiled so as to be appreciated on a universal level. As no one outside of his inner circle was informed of Ben’s condition at that time, the connection was by no means evident to the outside world.

“That’s what the record’s about… It’s the beginning of my search for a way for a non-oral person, a severely physically handicapped non-oral person, to find some sort of interface for communication… That’s what I was getting at. And that was completely misunderstood.”



Purely nostalgic reasons prompted me to dust off my copy of Trans. Would I be let down?

Not a chance.

Inexorably tied to a very happy time in my now-distant past, the sounds and smell of the vinyl transported me back to the day I had bought it. Reminded of that first time hearing the re-make of “Mr. Soul” on the radio and flipping, I had even thought it to be superior to the original version.

Silly kid.

Since I wasn't part of the generation that shared its first joint with After the Goldrush or Harvest when they were brand new, I did not view his foray into drum machines and synthesizers as tampering with what was considered sacrosanct. That's why this effort received such a critical pasting upon issue. The artist wasn't playing to expectation and the work was dismissed offhand.

As much as I champion this album, objectively, there are a few minor deficiencies. The inclusion of the three conventional tunes dilutes the overall concept and feel. Trans may have fulfilled the promise of its cover art (depicting the mechanization of humanity) had there been a bridge between the two styles. This would have required a rethink in terms of creating a narrative to define the transition from organic instruments to a synthetic sonic landscape. Otherwise, he should have just remade the three “regular” compositions in the fashion of the other songs. "Like An Inca" would have killed in a more spacey, electronic format.

Subjectively, I still think that it stands as one of the most interesting statements he’s ever made.

So why is Trans relegated to the cut-out bin of forgotten music?

Accessibility is one major factor. To date, Trans is officially unavailable in digital format here in North America. You can order it on CD as an import, but it doesn’t come cheap.

What about classic rock radio? Wouldn’t we hear it there?

This format has lots of room for Neil Young’s music, except when it barely resembles “Neil Young”. Completely submerging all trace of his conventional style in the murky waters of digitized noise and vocoders would serve as a hindrance to garnering airplay.

With everyone doing their “singing” these days with auto-tuners and pitch correction software, it wouldn’t be a stretch to single out Trans as an influence on such developments. In truth, Neil came a bit late into this game as groups like Kraftwerk had been in the vanguard of this type of expression long before him. This was also merely one facet of Young’s complex musical persona. Within a year he would remove his techno-hat in favor of rockabilly.

From an artistic viewpoint, he is to be commended for making such a bold move at a time when many of his contemporaries had long fallen victim to creative stagnation or had simply burned out. He could have played it safe, sold a truckload of product. Long before this he had chosen to follow a career trajectory that was driven by passion rather than business interests.

Next time you're out hunting for music, if you spot a vinyl copy of Trans, buy it.

NOTHING

HOME

Nothing are really something. The Ottawa based band is currently in the midst of the third round of the Big Money Shot and their new song, "Home", needs some Facebook love so that they may advance to the next round of this contest.

Live 88.5 FM has posted entries from each contestant. Please go to the link have a listen and click "like" to support their effort.

You can find out more about Nothing here.

Here's a live clip from May 2011

FORGOTTEN MUSIC THURSDAY-MANASSAS

MANASSAS

Manassas ranks as one of the nicest bonuses that came out of the CSNY implosion in the early seventies. Stephen Stills assembled a first-rate cast of musicians for this project and they gelled extremely well. No less a light than Chris Hillman was up front with Stills, providing stellar harmonies, second guitar and he was indispensible when it came to lending his blazing mandolin chops to the bluegrass tracks.

Clocking in at 70 minutes and change, your attention is required. If you are not an ADD riddled sort, then your patience will be rewarded. Stills succeeds in presenting an eclectic mix of genres under the banner of cleverly produced ‘roots rock’. His strength as an arranger is frequently highlighted and the material is decent. Stylistically, Manassas doesn’t fly off in as many directions as The White Album, though there’s enough diversity to keep things interesting.

Why then does this disc find itself in the realm of forgotten music?

For starters, there was no huge hit single to be found here ("It Doesn't Matter" should have been). The songs did not possess the big hooks that reel in casual music fans, either. This is not to say that they don't captivate the ear, it's just that the melodies are crafted to sneak up on you. Smart music often needs time to grow and take root in your brain through careful listening sessions. Another strike against this release was the record company's indifference. Atlantic had a vested interest in Crosby, Stills and Nash as they raked in staggering amounts of cash for the company. Manassas was relegated to side project status, which lowered their profile, slackening any effort put into the promotion machine.

Embarking on an extensive tour that took them around the world, the group name (and album cover) was settled while on an early stop in Virginia. Rock, bluegrass, folk, country, blues and Latin jams sound effortless in the hands of this extremely versatile crew. Highlights? "It Doesn't Matter", "The Treasure", "Johnny's Garden", "Cuban Bluegrass" and "Fallen Eagle".

They sounded great live, too, often playing three hour sets. Here's a clip from 1972 (German TV)



Bill Wyman co-wrote "The Love Gangster" and played bass on the track. Manassas is the band he reportedly said that he would have quit the Stones to join. High praise indeed.

Generally available on CD as an import, though the record can be found fairly easily, "Manassas" is the summit of Mount Everest in the Stills catalog and may be the most fully realized example of this gifted man's talents.

DAN PEEK RIP

Very sad to hear of the passing of Dan Peek, singer/multi-instrumentalist/writer with the band America from 1970 until his departure in 1977. He wrote a number of hits for the group and continued to make music as a solo performer. Here he is, performing one of his many great tunes, "Lonely People". Peek was just 60 years old.

NASTY WEATHER

MOTHER NATURE HATES ROCK FESTIVALS

Bluesfest has been a premier summer music event in Ottawa since the mid nineties. This year, the lineup was quite amazing, though I did not make it to any of the shows.

Until last night.

By chance, a good friend of mine asked if I would be interested in checking out Cheap Trick, who were one of several acts closing the festival this year. I have not seen these guys live since the late 80's ("The Flame" was a surprise return to the charts for them at that time).

I was in!

We had a couple of beer and were kindly given a lift down to the site. Arriving just before the band hit the main stage, we lined up for more beverages and found a spot just as the pre-recorded intro finished. They came out strong with "Hello There" and carried on with an unexpected "Tonight It's You".

So far so good.

About 15 minutes in, an ominous, dark shadow began to creep up behind the audience. People began to point skyward and take pictures of the advancing dark clouds.

Something wicked this way comes

Sensing a heavy downpour was imminent, many of the assembled now began to turn away from the stage, pack up and leave. My buddy told me to turn around and look at the trees in the background. The wind was bending them almost to the ground. Then the mains went dead, though the band still had a monitor mix. A flock of birds was blown out of their planned flight path, toward the stage as 120 kmph winds roared past. Cheap Trick downed tools, fled the stage and thirty seconds later, disaster struck.



The stage was lifted and toppled backward in a completely chaotic and surreal scene. We were stunned, though all of us agreed to calmly find a safe spot as hail, rain and debris pelted the crowd. It is astounding that no one was killed.

I have been to hundreds of shows. This is by far the strangest and most unsettling concert experience that I have ever had. We trooped away from the site as emergency vehicles screamed toward the scene. Hitting a pub after a trek in the rain, pints were hastily ordered and consumed as we tried to make sense of the weather bomb. Not quite the evening that any of us expected, though it will be memorable for all of the wrong reasons.

WESTERN NINJA

Western Ninja has a mid-tempo, very catchy single called "Alone In the Crowd", available now. You can check it out and download the song right here

Using a combination of classic rock grit and modern-day hedonism Western Ninja celebrate the smashed party atmosphere and bring energetic hooks. Their debut album, See You in Hell,is now available at iTunes

RORY GALLAGHER

NOTES FROM SAN FRANCISCO

One of the great mysteries in life is how one person can be blessed with copious amounts of talent and not be a superstar, while those who are comparatively lightweight in this respect become world famous. Such is the case with the late Rory Gallagher. His career trajectory aligned with rise to prominence of some of the greatest guitarists of the sixties (Hendrix, Clapton, Page and Beck) so it’s understandable that he may have been somewhat overshadowed in such company.

Musicians have long been singing his praises. He maintained a very devoted fan base who snapped up his recordings and went out of their way to see him shred in person. To the delight of his followers, a long buried treasure has been unearthed and made available recently. These fabled sessions began in 1977, with Rory set to record with producer Elliot Mazer. At the end of a year-long world tour, and without so much as a couple of days off in between, Gallagher and his solo band arrived at Mazer’s studio in San Francisco to begin work on the album which he hoped would capture some of the American musical spirit that he so admired.

Departing from his usual approach, Gallagher conceded to augmenting the core instruments with what would be, for him, surfeit layers of sound. He voiced his dissatisfaction with certain elements of the mix. His brother, Donal, takes it up from here:

“Rory wasn’t really happy with where the album was going. After Christmas, Rory and I returned to San Francisco to do another set of mixes. But remix after remix, there was something radically wrong, in Rory’s view. He just wasn’t happy. So by mid-January 1978, he decided he wasn’t going to go through with it.”

Mazer, no stranger to completing recording projects that would ultimately be shelved (Neil Young’s “Homegrown” LP) watched another one slip by.

Upon his decision that the disc would not be issued, Rory then broke up his band of five years and quickly turned his attention toward a new project. In 1992, he implied that this work would only see the light of day only if all of the tracks could be remixed.

Fast forward to 2011 and the release of “Notes From San Francisco”, which not only gives fans of the late guitar genius the “lost” album but also includes a second, live CD taken from four gigs in 1979 at San Francisco’s The Old Waldorf.

The verdict?

Far from being a collection of outtakes that have been rushed to the marketplace for a quick buck, this is a solid, cohesive set. All that was needed was a fresh set of ears to listen and undertake new mixes of the completed material. Gentle surprises come in the form of "Wheels Within Wheels", an acoustic based piece with very tasteful electric overlays and "Fuel to the Fire" which boasts a stunning solo. Elsewhere, he swings wildly with big overdubs that hit hard ("B Girl"), stinging boogie riffs ("Çruise On Out") and what amounts to a tougher edged Stones vibe (circa Exile on Main Street) complete with horns ("Rue the Day"). All are on target, while showcasing the nimble playing of his band.

As for the bonus live disc, expect no less than a masterclass in guitar technique, with devastatingly tight performances being the rule and not the exception.

This is one of the most satisfying "from the vault" releases that I have heard in a long time. If you are a fan of his work, this will not disappoint. Notes From San Francisco is also sure to attract new and willing converts to his existing army of admirers.

Check out more here

TRISTAN CLOPET

NAME IT WHAT YOU WANT

Fusing the musical head and heart is always a delicate balancing act. Some artists overreach, straying too far into the intellectual ether, losing that precious connection with a wider listening audience.

Tristan Clopet's songwriting recipe perfectly combines clever subject matter with melodic hooks, making each note count and delivering something that can be universally enjoyed. Eclecticism is the key element that will bring you back to this disc for repeated spins. Lots of great chances are taken, exotic instruments employed, yet all remains focused and in context.

There is one attribute that separates this guy from many of his contemporaries:

His voice.

Expressive, capable of hitting soaring heights, though never deployed in a way that is over the top (unnecessary showing off, over-extending notes), Clopet's vocals need no assistance from the bland pitch-correction devices that are now so ubiquitous on the pop landscape. Influences can be detected, though he has synthesized them into a style that is his alone. Topping this, his skills as a writer, arranger and multi-instrumentalist are formidable.

There are so many high points in the ten songs that comprise Name it What You Want, that it is tough to pick just one or two. "A Summer in Sussex" kicks off the album in an uptempo fashion with scatter-shot, slightly stream of conscious wordplay, shifting gears toward the finish. The one-two punch in sequencing lands the brilliant "A Chat With My Brain" next, which was a wise choice for the taster single that preceded this set.

The intro alone to "Toutes Directions" is enough to make you want to hand over a vital organ just to claim part ownership of its construction. Don't let that stop you from enjoying the rest of it, though. Tight, funky guitar riffs intermingle with an inventive piano part that will echo in your head for days.

All before the first verse even begins.

Instances of interesting arranging tricks abound, there's a particularly inspired break that uses a rush of strings in "An Introduction...To Forward Thinking" which seamlessly flows into the guitar solo. These nuances serve to enhance the listening experience. One of the most ambitious pieces found here is the closer, "The 4:45 Through Remembrance". Threading several ideas through a very haunting four minutes of music, this stunner comes across with the swagger of a mini-epic, complete with atmospheric vibraphone and a fluent, classical piano flourish midway through.

"Ladies and gents, we've reached our final destination."

This is very mature work, mixing introspection with exuberance. All ten tracks are stellar. Worthy of note: It's very exciting to hear a new artist with a vision for their output that supersedes the notion that it's merely empty "product" to be consumed and tossed aside. The praise which I have heaped upon this record may seem over-effusive- until you listen to it. Every superlative is well deserved. This is music that you'll be able to enjoy today, twenty years on and beyond. Name It What You Want? Brilliant Debut.

Right now, Tristan Clopet and his band are touring, spreading the word and bringing these songs to life on stage. You can find out where he's heading next right here

Masterfully produced by Raymond Richards, Name It What You Want is available now

THIS TIME

Every dream has a soundtrack...

With soaring, extraordinary music, THIS TIME takes you from the streets of South Central Los Angeles to New York’s Park Avenue on a unique musical journey in this uplifting story. The musicians are legendary recording artists, The Sweet Inspirations

Myrna Smith, Estelle Brown and Portia Griffin

Somewhere in the world, The Sweet Inspirations are being played on the radio at this very moment. The Sweets were background session singers on dozens and dozens of hit records and albums, including among others: “A Natural Woman”, “Spanish Harlem”, “Chain Of Fools”, “Don’t Play That Song” (Aretha Franklin), “Moondance” (Van Morrison), “Do You Know the Way to San Jose?”, “I’ll Never Fall in Love Again”, “Alfie”, “I Say a Little Prayer”, “Don’t Make Me Over” (Dionne Warwick), “Son Of A Preacher Man” (Dusty Springfield), as well as singing with Jimi Hendrix, Nina Simone, The Drifters, Wilson Pickett, Luther Vandross and backing-up Elvis Presley in concert and recordings throughout the last eight years of his life. Perhaps the most famous back-up group in history, The Sweet Inspirations were also solo artists with seven albums on Atlantic, Stax and RSO Records from 1967 – 79. Originally from Newark, New Jersey and members of the New Hope Baptist Church, Cissy Houston (mother of Whitney Houston, and aunt of Dee Dee Warwick and Dionne Warwick) was the first member of The Sweets. Sylvia Shemwell then joined the group and the girls quickly found their way onto records with the likes of Wilson Pickett, Garnet Mimms and Aretha Franklin, who was then struggling to make a name at Columbia Records. In 1965, Myrna Smith (also from New Hope Baptist Church) and Estelle Brown (from Harlem) came in to form the line-up most remembered today. In late 1969 the group underwent some radical changes. Cissy Houston left the group in order to pursue a solo career. After the death of Elvis, The Sweet Inspirations recorded one more album on the RSO label in 1979, then retiring for a period before re-emerging in 1994 to perform worldwide in Elvis Presley tribute concerts including “Elvis - The Concert”. In 1996, Portia Griffin joined the group as lead singer and in 2002 they began recording a new album, IN THE RIGHT PLACE, with producer / composer Peitor Angell on Frixion Records, as documented in THIS TIME. Their first single off the album, “Celebration” reached #32 on the Billboard Club Chart.

AMERICA

HOMECOMING

The early 70s brought softer sounds to the airwaves. Crosby, Stills & Nash, James Taylor, Joni Mitchell, Neil Young and a host of other singers armed with acoustic guitars provided a mellow landing pad for many listeners. When CSNY imploded in a tangle of ego, substance abuse and solo efforts, America took up their sonic blueprint. Moving forward with great melodies, three part harmonies from heaven and a memorable first single ("Horse With No Name") Bunnell, Beckley and Peek arrived at number one right out of the gate.

Still in the afterglow of their successful debut, they set to work to prove that they were not one-hit, Neil Young clones. Riding that momentum, their sophomore disc was issued in late 1972 delivering ten pop confections that expanded upon the sound of this often underrated trio.

Homecoming opens with one of their best ever offerings. That silky, harmonized acoustic riff announcing "Ventura Highway" is signature and high marks are awarded for the arrangement. The tight vocal blend caps a very impressive tune, courtesy of Dewey Bunnell.



Taken as a whole, this disc is a chocolate sundae with all of the trimmings. All ten songs have something special that pull the listener in. The ones that really stand out for me are "Cornwall Blank" and "California Revisited", which both feature extended instrumental passages in their outros and serve to illustrate that Bunnell and Peek took their compositions in oblique, yet engaging, directions.

Beckley, on the other hand, seems content with being the Paul McCartney of the group, bringing great pop sensibility to his offerings of which the highlights are "To Each His Own" and "Only In Your Heart". Melodic, piano driven and pretty easy on the ears, these songs would garner a fair amount of airplay.

Augmenting the trio were a number of studio pros, most notably Hal Blaine on drums who was part of the famed "Wrecking Crew". They played on many of the sessions that produced countless hits in the 1960's. Impeccable playing on everyone's part brings additional strength to the record, which also boasts high production values.

Objections remain in the fact that, with some exceptions, their lyrics were not always that strong (case in point being "Til the Sun Comes Up Again"). America also took some stick for sounding like CSN (and sometimes Y) junior. That aside, the group counters such criticism on Homecoming by delivering a consistently satisfying set of songs. It stands up well today on the basis of inventive musical motifs and peerless vocal harmonies. Music that conjures up images of a sunny afternoon, cooler full of beer and no commitments, it is quite possibly the best album that they ever made.

JON ANDERSON

The new CD 'Survival & Other Stories' by legendary vocalist/writer Jon Anderson features eleven songs that chronicle love, life, understanding, healing and survival.

One of the most recognizable voices in music, Anderson, best known for his work with Yes, Vangelis, Kitaro and other notable music artists, is preparing to release one of the most highly anticipated albums of the year, 'Survival & Other Stories'. Jon's new CD has an inspirational message for all who will listen.

“About four years ago I just put in an ad on my website: 'Musicians Wanted'... This is the result. Writing the songs for 'Survival & Other Stories' was uplifting for me on many levels. I was working with musicians from around the world via the internet. It's a new world and music is a healing energy. I had a tough 2008, due to illness and the music that I've been writing since is a celebration of life on many levels...I hope you get the chance to hear the album..Big Love..Jon."

Survival & Other Stories' is the first of three planned releases from the artist over the next two years.

Jon recently completed a successful east coast tour of the US, “An Acoustic Evening With Jon Anderson”, showcasing an exciting mixture of material from his solo career, collaborations with Vangelis and classic Yes songs, along with compositions from his new CD 'Survival & Other Stories'. Jon will be performing select shows throughout this summer in the US and Canada. For tour dates visit here

Jon Anderson 'Survival & Other Stories' available soon through Voiceprint Records.

RORY GALLAGHER

LOST RORY GALLAGHER STUDIO ALBUM FROM 1978 TO FINALLY BE RELEASED!

Notes From San Francisco, To Land May 17 Via Eagle Rock Entertainment

~Lavish Package Includes Never-Before-Released 1979 Concert!~

The story goes that Jimi Hendrix was once asked what it was like to be the greatest guitarist in the world, to which he replied, “I don’t know, go ask Rory Gallagher!”

Rory Gallagher (1948-1995) is simply one of the all-time guitar greats. Slash, The Edge, Brian May, Johnny Marr, Janick Gers, Ritchie Blackmore, Glenn Tipton and Vivian Campbell have all said it. Since practically inventing the Power Trio format in Taste (both Cream and Taste debuted in 1966), Gallagher’s music has stood the test of time and he’s as popular now as he ever was, his influence gargantuan.

The story of Rory’s lost San Francisco album actually starts in Japan. In November 1977, after a grueling six-month world tour, the band flew straight from their last show in Japan to San Francisco to begin working on a new album with famed American producer Elliot Mazer (who worked on Neil Young’s Harvest, Big Brother & The Holding Company’s Cheap Thrills and The Band’s The Last Waltz). Mazer recalls the sessions grew “tense,” as Gallagher thought the mixing process “too complicated.” By the end of January 1978, he had shelved the whole record and broke up his band of the past five years.

Fast forward to 2011 when Rory’s brother/manager Donal allowed his son Daniel to recover the album from the Gallagher archive and begin the process of mixing it with his engineer. Rory said in 1992 he hoped the album would surface one day but only if it were remixed. Bingo. Hearing this historic never-before-issued studio album from a key period of Gallagher’s career (the album that would have been released between Calling Card and Photo Finish) is the Holy Grail for Rory’s fans.

CD #2 is another fabulous discovery: a blistering live album taken from four December nights in 1979 at San Francisco’s The Old Waldorf. In the audience Van Morrison, on stage Rory Gallagher (guitar/vocals), Gerry McAvoy (bass) and Ted McKenna (drums). Daniel Gallagher chose to add the live side to highlight why Rory chose to shelve the studio album and reduce his band back down to a three-piece. Rory, after seeing The Sex Pistols at Winterland during final mixes for his own album, was struck by the stark drama and blunt primitivism of pure punk. “It was as close to Eddie Cochran as you’re going to get,'' he enthused. He had been saying that he wanted to get back to what he called “meat’n’potato rock’n’roll,” a stripped-back primal raw immediacy hearkening back to his Taste days.

A street has been named after him in Paris; a corner in Dublin; a statue in his Ballyshannon birthplace, where The International Rory Gallagher Tribute Festival is held. There’s a Rory Gallagher Place and Rory Gallagher Music Library in Cork. Annual tributes are held in Germany and Japan. The man has sold in excess of 20 million albums. Notes From San Francisco [MSRP $17.98] will be a worthy addition to his canon.

Stay tuned for a full review of this upcoming release.

Track Listing:

CD1
1. Rue The Day
2. Persuasion
3. B Girl
4. Mississippi Sheiks
5. Wheels Within Wheels
6. Overnight Bag
7. Cruise On Out
8. Brute Force & Ignorance
9. Fuel To The Fire

BONUS TRACKS
10. Wheels Within Wheels (Alt version)
11. Cut A Dash
12. Out On The Tiles

CD2
1. Follow Me
2. Shinkicker
3. Off The Handle
4. Bought And Sold
5. I’m Leavin’
6. Tattoo’d Lady
7. Do You Read Me
8. Country Mile
9. Calling Card
10. Shadow Play
11. Bullfrog Blues
12. Sea Cruise

RESEARCH TURTLES

MANKILLER

Research Turtles are cause for rejoicing. This gladdening of the heart will begin as the intro to "Bugs In a Jar" makes its way through your Eustachian tube, striking the sweet spot in the higher level center of your brain. The opening instrumental hook, stylistically reminiscent of early Cars, runs quickly into an effective verse, culminating in a devastating chorus.

The best part? You may download this brilliant taster single for free right here

Recorded in a fitful week, the material is top shelf, melodic rock. In fact, these industrious lads nailed down all five tunes in five days.

Funf is English five

Spontaneity, energy, great musicianship and an ear for engaging songwriting will help put these guys at the top of everyone's playlist. One of the great pleasures in my life, aided and abetted by this blog, is finding up and coming bands that exceed expectations in every way possible. Research Turtles will reaffirm your belief in the power of tightly played rock and roll, delivered with a contemporary feel.

"You Are So" and "Mankiller", to borrow a phrase from the late Wesley Willis, both whip a penguin's ass. The EP, which is their second release, is available for public consumption on May 31st. Check out their website for details on purchasing their discs.

Caught in the act



Part two of Mankiller is coming out in September of this year.

NOT TO BE TAKEN AWAY

WHO ARE YOU

In the interregnum between The Who By Numbers and the release of Who Are You, popular music trended toward lightweight, inconsequential fare programmed for the dance floor. With disco hijacking much of the precious needle-time that radio programmers had to spare, "Rock" began to morph into a soft shadow of its former self, complete with a complacent spare tire around the middle and nothing new on offer.

Safe, corporate-sponsored sludge coated the airwaves, though there was a movement in music that began to bubble up between the cracks that brought a different type of energy to the table.

Punk

Bashing away on their instruments, howling, cursing and spitting in the face of the mainstream, the messages of punk ranged from being overtly political in nature to downright blackly humorous and vulgar. Raw, sweaty and primitive rock 'n' roll was back, with a do-it-yourself attitude that excluded no one. These snotty young upstarts didn't give a fuck and had nothing to lose.

This made quite an impression on Pete Townshend.

In my imagination, I invented punk rock a thousand times...I'm sure that I invented it, yet it has left me behind. If anything was ever a refutation of time, my constant self-inflicted adolescence must be...I prayed for it, and yet it's too late for me to truly participate. I feel like an engineer. Just let me...watch.

Who Are You (the LP) had absolutely nothing to do with punk, though the arrival of this wonderful noise served to free Pete from his obsession with having to single-handedly, fly the flag of rock and roll. Seeing that these kids were more than just alright, Townshend looked to them to deliver the angst and explosions from stage. Something different was in order for The Who. His demo work in preparation for the sessions took up the synthesizer experiments that he had been working with during the early 70s. New ideas in hand, it was time to pull his band mates together to work them out in the studio.

One small detail remained: Townshend was not up for playing live or touring around this project. Annoyed, Roger and John were not on board with this. The fourth member in this equation could not have possibly hit the road in the shape that he was in. Since their last tour had ended in the fall of '76, Keith had fallen into a very ugly spiral of drink and substance abuse. Directionless without any group activity, his bad behavior continued unchecked. Not surprisingly, this took a heavy toll on his health and skills as a musician.

Reconvening after a long layoff, the challenge ahead was to tackle the new material. Stylistically, these compositions were miles away from what had come before. Tricky time signatures, jazz-like chord progressions and layered arrangements would amount to the most "Un-Who like" record they had ever made.

"New Song" announces the change in the works immediately. Message-wise, Pete reminds listeners of why he is shuffling the deck:

I write the same old song with a few new lines
And everybody wants to cheer it
I write the same old song you heard a good few times
Admit you really want to hear it

Dismissing out of hand the robotic thump so ubiquitous at that time, "Sister Disco" is saved by an inventive arrangement and Entwistle's lightning quick fingers. John contributes three of the nine tunes found here, going the extra mile with his performance on 8 string bass for "Trick of the Light", which is so forceful that it almost precludes the inclusion of another guitar. Both he and Townshend were featured on bass when they performed it live on the '79 tour, prefiguring (perhaps the inspiration for) Spinal Tap's jokey "Big Bottom".



Roger really takes hold of these songs, putting a snarly edge on the Gilbert and Sullivanesque "Guitar and Pen". His passionate delivery on "Music Must Change" also further elevates the piece, decorated by Townshend's jazz fingering. Moon could not get his head around the 6/8 time required here and his performance was excised from the final mix. Struggling to regain his touch, Keith was a shadow of his former self behind the kit. Glyn Johns struggled with this, at one point removing all of the drummer's cymbals so that he would not saturate the takes by riding them constantly. In the final stages, it was clear that Moon would soon be dropped from the band as he simply could not function. Tensions were high between Johns and Daltrey as the producer tried to push the singer toward a different way of phrasing. Glyn left the completion of the project in the hands of his assistant, Jon Astley, claiming a work commitment with Joan Armatrading. It was very likely that the atmosphere during the sessions left a bad taste.

Conceding to those fans that yearned for the expected from the Who, "Who Are You" closes with six minutes of the old "strum and drang". The lyric was derived from an infamous encounter that Pete had with Steve Jones and Paul Cook of the Sex Pistols. Mistaking one of them for Johnny Rotten, he cornered them, ranting about the state of music, drunk on only a couple of shots of whiskey. Having just come out of the last round of legal proceedings against the Who's former managers with a very sizable royalty cheque in his pocket, he ripped it up and spat upon it during his tirade. Exiting the bar, he slumped in a nearby doorway and passed out. Rudely prodded awake by a policeman's baton, Townshend was given the option to get up and stumble home to bed or be brought to jail.

Sound familiar?

Who Are You was well received, though its merits were overshadowed by the death of Keith Moon just weeks after it had hit the shelves. This is where the Who legend ends for me. He was their resident pranskster, heart and soul and percussive genius who powered the band's music with a style unlike anyone before him. Seemingly indestructible, he burned very brightly for a short time before flaming out.

Following his passing, they soldiered on for a few more years, though they lacked the unpredictable energy that he brought. In short, they were more of a pop band which the post-Moon efforts (Face Dances and It's Hard) bear out upon repeated spins.

Numerous farewell and "hello again!" tours have been undertaken over the last thirty years, much to the detriment of their legacy. Despite this, it is their output from the 60s and 70s which continues to win new converts.

DEEPSEAGREEN

VALSORDA

Keeping the flames from the hard rock temple, UK based DeepSeaGreen are unleashing Valsorda, an EP that features six weighty slabs of uncompromisingly heavy, original music. Coming just over a year after their self-titled debut, the band put down these tracks over a few days in Northern Italy in March 2011. Translating the excitement of live playing in a studio environment is generally a tall order, though they pull it off successfully with electricity crackling from every pore of the disc.

Brothers Jon and Daniel Jefford with Trent Halliday and Marco Menestrina have been honing their chops since 2008. Tight and precise, they steer each of these blues/rock workouts expertly, at times shifting gears in the manner of early Sabbath.

Highlights are "Soul, Stray Cats and the Cosmos" which boasts fantastic, multi-part riffs and the groovy closer, "Small Stones", though everything they do here is more than engaging. The key is that they have taken a refreshing approach to recording, which is to simply plug in, set up and put the songs across. Having taken the time to plan the arrangements and rehearse beforehand, they hit the studio floor running, capturing the energy in every take.

Good things come to those who rock.

Vaslorda is as close to fine as it gets. Check it out for yourself here

TRISTAN CLOPET-A CHAT WITH MY BRAIN

Tristan Clopet has just released "A Chat With My Brain", a taster single from his first full length disc (Name It What You Want) due out on May 31st.

Setting the bar quite high, this killer track combines a powerful hook with high-flying vocals, all masterfully blended by producer Raymond Richards.

Check out the video and be sure to purchase the song on iTunes



Crank it up and pass it on!

SONGS FOR JAPAN

SONGS FOR JAPAN

Help spread the word regarding this generous effort.

"Songs for Japan" Album on iTunes to Benefit Japan Disaster Relief

Proceeds from Star-Studded Album to Support Disaster Relief Efforts of Japanese Red Cross.

NEW YORK, March 25, 2011 -- In what stands as a major global music relief effort to benefit those affected by the earthquake and tsunami in Japan, over 30 of the biggest names in contemporary music have joined together for the worldwide release of "Songs for Japan," an unprecedented compilation of 38 chart-topping hits and classic tracks, available worldwide on the iTunes Store for $9.99 starting today (www.itunes.com/songsforjapan). Proceeds from the album's sale will benefit the disaster relief efforts of the Japanese Red Cross Society.

The "Songs for Japan" track listing features an all-star lineup:
1. John Lennon "Imagine" (Remastered)
2. U2 "Walk On" (Radio Edit)
3. Bob Dylan "Shelter From The Storm"
4. Red Hot Chili Peppers "Around The World" (Live)
5. Lady Gaga "Born This Way" (Starsmith Remix)
6. Beyonce "Irreplaceable"
7. Bruno Mars "Talking To The Moon" (Acoustic Piano Version)
8. Katy Perry "Firework"
9. Rihanna "Only Girl (In The World)"
10. Justin Timberlake "Like I Love You"
11. Madonna "Miles Away" (Live)
12. David Guetta "When Love Takes Over" (feat. Kelly Rowland)
13. Eminem "Love The Way You Lie" (feat. Rihanna) [Clean Version}
14. Bruce Springsteen "Human Touch"
15. Josh Groban "Awake" (Live)
16. Keith Urban "Better Life"
17. Black Eyed Peas "One Tribe"
18. Pink "Sober"
19. Cee Lo Green "It's Ok"
20. Lady Antebellum "I Run To You"
21. Bon Jovi "What Do You Got?"
22. Foo Fighters "My Hero"
23. R.E.M. "Man On The Moon"
24. Nicki Minaj "Save Me" (Clean Version)
25. Sade "By Your Side"
26. Michael Buble "Hold On" (Radio Mix)
27. Justin Bieber "Pray" (Acoustic)
28. Adele "Make You Feel My Love"
29. Enya "If I Could Be Where You Are"
30. Elton John "Don't Let The Sun Go Down On Me"
31. John Mayer "Waiting On The World To Change"
32. Queen "Teo Torriatte (Let Us Cling Together)" [Remastered]
33. Kings Of Leon "Use Somebody"
34. Sting "Fragile" (Live In Berlin)
35. Leona Lewis "Better In Time"
36. Ne-Yo "One In A Million"
37. Shakira "Whenever, Wherever"
38. Norah Jones "Sunrise"

Proceeds from "Songs for Japan" will be directed to the Japanese Red Cross Society (JRCS) to support its disaster relief efforts. The society will use the funds for the ongoing provision of immediate relief and for eventual recovery support to the affected population. The artists participating on "Songs for Japan," the music labels and music publishers have waived their royalties and proceeds from the worldwide sales of the album to ensure that the JRCS receives as much support as possible from this global initiative. iTunes will also donate its proceeds from the album's worldwide sales to the benefit of the JRCS, and has prominently featured the project throughout its stores worldwide.

THE NUMBERS GAME

THE WHO BY NUMBERS

Self-referential almost to a fault, the songs that Pete Townshend submitted for approval on "By Numbers" are tough to listen to. Keith Moon was upset to the point that he cried upon hearing the demos. True artistic ambition is realized when the soul of its creator is revealed. Here, every nerve is exposed.

Brutally honest expression wasn't exactly new to the rock scene. John Lennon's "Plastic Ono Band" and Joni Mitchell's "Blue" are works that painted pain in technicolor. This album has always been unfairly relegated to cut-out bin status in the Who catalog. It mines the same territory as the aforementioned LPs and is no less brilliant. That being said, it does not measure up to the grandeur of the work that came before.

What happens to the man who writes about dying before he gets old when he lives to tell the rest of the story?

1975 saw the creative force behind The Who turn thirty. Still a young man, though "old" for the position he held. Pete had driven himself relentlessly to push rock in a cerebral direction, without losing its power. Peering into his future, he came to realize that he could not continue to pour his heart and soul into leaping around the stage and playing the old favorites. Would he rest easy in this deceit?

Not a chance.

Self-loathing rears its head as the author refers to himself as a "faker", "a paper clown" in one instance and questions the validity of all his relationships elsewhere.
There is no mistaking titles like "However Much I Booze" and "How Many Friends" for happy, upbeat (brainless) music. Genius coming to grips with burning out under the weight of expectation is more like it.

Called his "suicide note" by the rock press at the time, "By Numbers" actually reflects the early onset of mid life crisis, though that in itself is no less serious. Disillusion even spills over into Entwistle's lone contribution, the excellent, but sarcasm-laced, "Success Story". Only the filthy silliness of "Squeeze Box" manages to break through the gloom.

Musicianship is of the usual high standard that the band had long set for themselves. Entwistle and Moon turn in exceptional performances while Daltrey convincingly conveys the emotion behind each lyric. His interpretive skills were often overshadowed by the blast wave that the other three created when playing live.

"Slip Kid" is the highlight.



Heartbreaking, given the context, is the Pete-on-ukulele "Blue, Red and Grey".

Glyn Johns produces, bringing the same clarity that made "Who's Next" such a devastating record., though the overall mood of the work is desultory. It still deserves your attention, standing as a pretty brave statement of insecurity from a candid artist, leading one of the most thrilling rock bands of all time.

Playing more like a Townshend solo disc, which is how this should really have been issued, there is a sharp 180 degree turn away from any attempt to create another long form piece. In the grips of a depressive episode, it would have been impossible for Pete to expend the type of energy required to power another monumental spectacular. Quadrophenia had proven to be his last big blast with The Who. Now, he would come around to the thinking of his band mates and settle into touring as a professional entertainer, without the weight of taking "Rock" to yet another level of expression. The band roared through the 75/76 shows, their playing on par with the intensity they had brought to the stage five years earlier. This period would, sadly, herald the final chapter of Keith Moon era Who.

Houston TX, first night of the US leg of the '75 tour.

FOUR FACES

QUADROPHENIA

I have to be careful not to breach/I can't pretend that I can teach/ And yet I've lived your future out by pounding stages like a clown

Peter Townshend, rock's most tireless supporter, had long been telling anyone within earshot that the music had to continuously evolve and challenge listeners. By 1973, there were a number of ambitious projects undertaken by artists of that era, though he walked the talk in delivering this two disc masterwork.

Quadrophenia is without equal in the entire Who catalog.

Consistent in its excitement factor, the music burns with incredible intensity ("The Real Me", "The Punk and the Godfather" "5:15", "Drowned"). The backdrop to Townshend's subject matter (the Mod movement) isn't exactly universal, though the emotions evoked by each piece certainly are. Far more successful than Tommy in framing a linear storyline which has a proper resolution, Quadrophenia also manages to retain an element of open-ended wonder with respect to its protagonist's future.

Claiming that he did most of the guitar work late at night, while "pissed out of his brain", Pete nonetheless complimented his tunes with top-notch lines. Roger turned in a number of heartfelt vocal performances that are right on target, Entwistle wrote out and dubbed on over 50 horn parts while contributing absolutely jaw-dropping basslines and Keith was in great form, though not quite his usual exceptional self. Moon's substance abuse had begun to erode his prodigious skills around this time. Publicly, he seemed to be indestructible, but his antics masked some very deep seated problems that would soon turn into very real headaches for the band and its management.



Ultimately, the theme involving Jimmy being a "Mod" is transcended by the fact that he is a misfit, who is gripped by the same self doubt and insecurity that extends its shadow over every human being at one time or another. Through the course of the album, his character is at odds with his parents, mates, co-workers and girlfriend. He goes to Brighton, a Who concert, battles rockers, scores pills, seeks and loses women, gets a job and loses that and contemplates the past, suicide and finally has the epiphany (through the employment of that trusty, age-old literary device: the cleansing power of water) that he will carry on.

This, of course, is mightily condensing the mad rush of images that are conveyed by the songs presented here. The prospective listener has to take up the liner notes, immerse themselves in the plot and find their own signposts to guide them.

Your engagement and full attention are required. What you will glean from the grooves of this disc is entirely subjective. For me, the music itself remains as the key driver to pulling a rush of different emotions to the surface whenever I play this record. There is a degree of solipsism involved in that last statement that could take this essay in a very dangerous direction. "Is It In My Head?" indeed. Suffice to say that Jimmy's inner struggles are expressed through a series of events that make perfect sense to him. Left unchecked, this character's behavior could have been written to take a mental trajectory that would be tough for anyone to follow. Townshend chose a path for Jimmy that was far easier to digest. Feeling misunderstood or out of sync with other human beings is something that many can relate to and it is by virtue of this fact that Quadrophenia escapes the gravity of inscrutability.

Townshend worked to ensure that the four shades of Jimmy Cooper were assigned to each band member, though no real room is created for them to take up different roles, the exception being Keith's vocal turn in "Bell Boy".

So you have the following:

* A tough guy, a helpless dancer. ("Helpless Dancer" - Roger Daltrey)
* A romantic, is it me for a moment? ("Is It Me?" - John Entwistle)
* A bloody lunatic, I'll even carry your bags. ("Bell Boy" - Keith Moon)
* A beggar, a hypocrite, love reign o'er me. ("Love Reign O'er Me" - Pete Townshend)



Beautifully crafted and executed, Pete himself described Quadrophenia aptly:

"The music is the best music that I've ever written, I think, and it's the best album that I will ever write."

No argument with that here.

If you have never encountered this record before now, here is a song by song synopsis of the story taken from an online post:

* "I Am the Sea/The Real Me" – The opera opens with Jimmy Cooper's introduction with his four personalities. The listener then gets a quick look at his visits to a psychiatrist, his mother and even the local vicar. Mental security is unfortunately not obtained by the protagonist.
* "Quadrophenia/Cut My Hair" – Jimmy recalls an argument with his parents that culminated in his leaving home. We also hear a news broadcast mentioning riots in Brighton between the Mods and the Rockers, events at which he was present the previous week.
* "The Punk and the Godfather" – Jimmy goes to a rock concert (Supposedly The Who themselves). He queues up, pays his money and then decides he is going to see the band backstage as they come out the stage door. Sadly, the group is rude to him. He realises that there is nothing really happening in rock and roll; it is just another thing in his life that has let him down.
* "I'm One" – Jimmy contemplates how he has not really got much going for him, but at least he has the Mod lifestyle.
* "The Dirty Jobs" – Suitably disenchanted with his former "religion", he gets a job as a dustman. Unfortunately, his extremely left-wing views are not appreciated by his workmates and he is forced to pass on to greater things.
* "Helpless Dancer/Is It in My Head?" – The listener gets a real look at where Jimmy's aggression comes from, as he switches into one of his multiple personalities (The Tough Guy). Jimmy has a conscience that bites fairly deep. His frustration with the world only makes him angrier than he already is. The listener sees that he also possesses self-doubt; he worries about his own part, and feels that his outlook is clouded by pessimism.
* "I've Had Enough" – Jimmy finally snaps when he sees the girl he likes with one of his friends. In a desperately self-destructive state, he smashes up his scooter and decides to go to Brighton where he had such a good time with his friends chasing Rockers the week before (as recited through the news broadcast earlier in the story).
* "5.15" – This song recites Jimmy's train journey down to Brighton, sandwiched between two city gents and notable for the rather absurd number of amphetamines he consumes in order to pass the time. He goes through a not entirely pleasant series of ups and downs as he contemplates the gaudier side of life as a teenager.
* "Sea and Sand/Drowned" – Arriving at Brighton, Jimmy's mood heightens. He talks about the rows at home and is a little sarcastic as he recalls the evening on the beach with his former girlfriend. The Mod scene is already falling apart and all he can do is stay in Brighton just to remember the days when the Mods came to Brighton; it was only three weeks ago, but he is already living in the past. It is here that Jimmy contemplates killing himself by drowning in the water.
* "Bell Boy" – He meets a former Ace Face who now holds the position as a bell boy at the very hotel the Mods tore up. He looks on Jimmy with a mixture of pity and contempt. The two argue, as Jimmy feels the Ace Face has "sold out". Jimmy is now feeling that everything—even the Mod lifestyle—has let him down.
* "Doctor Jimmy" – Jimmy begins to damage himself so badly on drugs and alcohol that he gets to the point where he is so desperate that he will take a closer look at himself. This part of the story shows the lunatic within him. The chorus line "Doctor Jimmy and Mr. Jim" is an ambiguous reference to "Doctor Jekyll and Mr. Hyde", which closely links to the multiple personality theme running through the story.
* "The Rock/Love, Reign O'er Me" – Jimmy steals a boat and takes it to a rock in the middle of the sea. Here, when he comes down off his high, he finds the boat has drifted away and that he is now stranded, alone and forgotten. As a storm rages around him, Jimmy has an epiphany. After all the different people he has been, he finally knows for sure who he is: himself.



Taking the album to the stage proved to be difficult. The Who failed to gel on the tour to support Quadrophenia, with considerable technical obstacles that presented themselves from the first dates. It would also be the last truly classic Who effort of the 1970s.

TEN LOVE SONGS?

With Valentine's Day fast approaching, many hopeless romantics are combing store shelves for a stuffed bear emblazoned with a heart or making reservations for the perfect night out.

Setting the atmosphere with the rightsoundtrack is a key ingredient.

Love, exciting and new! Come aboard, we're expecting you...

For some folks, the very idea of choosing a top ten list of favorite love songs is likely to conjure up sickly images of couples in matching sweaters, eyes locked, while listening to Air Supply.

It doesn't have to be this way.

Love is far more complex than this. Don't be fooled by the bubblegum version that has automatically written thousands of songs so horrific that even the worst hack at the Hallmark corporation wouldn't admit to penning them.

The following ten examples are "love songs" with a twist.

1) In My Life (Rubber Soul LP-1965)- What more can be said about this gem? The lyrics have their feet planted in both the past and present. Lennon deftly assumes the role of a person taking stock of those "people and places" that were dear to him, while also taking care to remind his present partner of her place at the top of the list. Clever and concise, without straying into maudlin territory.

2) For No One (Revolver LP-1966)-One of the most vivid portraits of love's "end game" ever committed to tape. The passion long departed, much imagery is conjured of two people with nothing left to say. One of McCartney's finest constructions, with nary a word wasted. It was a long journey from Love Me Do.

3) Waterloo Sunset (Something Else By the Kinks LP-1967)- Terry and Julie meet at Waterloo Station every Friday night, pass over a bridge across the Thames and the narrator reflects upon the couple with a lovely series of images. Pure poetry that has aged beautifully.

4) Days (Single release, 1968)- Set to a fetching melody, this is a song aimed at a departed lover without a tinge of regret. They don't come much better than this. Note that the word love does not appear in either of these tunes, further testament to the genius of Ray Davies, at the peak of his powers as a wordsmith.

5) The Last Time I Saw Richard (Blue LP-1970)-You must simply listen to this one as it defies description. It is the crowning achievement on an album that saw Joni Mitchell paint her relationship pain in a very naked fashion, yet without the self indulgence that may have reared its ugly head in the hands of a lesser talent.

6) 45 Years (Fogarty's Cove LP-1976)- Evoking emotions without resorting to cliche or overt sentimentality, this is a shining example of song craft that continues to inspire. If you haven't heard this, seek it out. A lovely refrain with every word and bar carefully considered. One of the late Stan Rogers' most touching compositions, it was dedicated to his wife.

7) You Better You Bet (Face Dances LP-1981)-Nothing like coming right out and just saying-nay, demanding it, albeit with a slew of free-wheeling lines involving everything from getting trashed while listening to old records (T-Rex and, with a wink, Who's Next) to showing up at your lover's place in the middle of the night, following consumption of the aforementioned adult beverages. It's a fine "love" song, dressed in the crappy clothes of anti-love. One of Pete Townshend's great, late period Who offerings.

Are you half-way through that heart-shaped box of chocolates yet?

8) Back on the Chain Gang (Learning to Crawl LP-1984)-Love and loss mingle with a nod to an old Sam Cooke tune in the chorus. Sheer emotion drips from every pore of this stunner. Chrissie Hynde's brush with perfection drew on some very significant events in her life at that time.

9) Up the Junction (Cool or Cats LP-1979)- This one will definitely choke you up. Difford and Tilbrook bring some heavy cards to the table, providing lines so perfect that the characters are positively three-dimensional. No happy endings for this couple, though such is often the case when you tell the rest of the story.

10) Only Love Can Break Your Heart (After the Gold Rush-1970)Neil Young took a quick look at the entire process of relationships and summed it all up with aching precision. Uncle Neil has always had a way with words and the message here is conveyed with grace.

There you have it.

So many other worthy contenders could have found their way onto this list. By no means do I believe that these choices are the final or definitive word when it comes to songs that pull on your heartstrings. I just wanted to take a walk down a different path. Feel free to bring your own "top ten" to the comment section.

NEXT

WHO'S NEXT

For those familiar with the series of events leading up to release of the Who's pristine fifth disc, there is a certainly a sense that the finished product could have been yet a notch higher in terms of excellence. Even a cursory look at the tracks from these sessions that didn't find a home on Who's Next is enough to give you a "one that got away" feeling about the project. ("Pure and Easy", "The Relay", "Let's See Action", "Join Together", "Slip Kid"...there are more as well)

Nevertheless, the album was a stunning exercise in technological and creative terms that was well ahead of its time upon issue in the summer of 1971. Townshend, aided and abetted by Glyn Johns, actually managed to top Tommy as opposed to merely following it up. In doing so, he worked himself to the brink of nervous collapse and was forced to abandon his original concept in the process.

LIFEHOUSE

Determined to push rock to greater heights, Pete intended for the Lifehouse project to be his magnum opus. In truth, the idea was another version of the Legend of the Lost Chord or the Universal Note which, when sounded, will restore humanity to its original state of harmony with the Creator.

Music and vibration are at the basis of all

Still, it was fairly heady stuff for that time.

Rather than go tumbling through the looking glass, recounting the Lifehouse saga here, I leave you to go to this link which offers a superb, concise synopsis of the story.

EPILOGUE

Assembling the band at the Old Vic Theater, the concerts that were to be filmed as a key to the plot didn't work as the audience would not play ball. They wanted the group to play "My Generation" and smash the shit out of their gear. The other members of the Who had no significant roles to play (or input) nor did they fully understand the storyline. This realization drove Townshend to the precipice of madness:

Every technical bridge that we came to was very hard to cross, because we were trying to do everything all at once: Trying to make the film, invent the new Who, make incredibly big strides in music, write a whole load of new numbers. I was trying to write a film script, we were trying to service a quadraphonic PA we were up to our ears in it and getting nowhere very fast. In the end, about halfway through the recording, I just phoned up Chris Stamp, our manager and said let's just knock it on the head and put out an album, otherwise I really will go crazy. And I would have done, no doubt about it. I'd be sitting in a room and everybody in the room would suddenly turn into frogs and the whole room would start to go. It was brought on by problems and none of them ever getting solved-not being able to see anything in the distance. Everybody was treating me as if I was some kind of loony, and I think for a while I lost touch with reality. The self control required to prevent my total nervous disintegration was absolutely unbelievable. I had the first nervous breakdown of my life.

WHAT'S NEXT?

There were many songs to sift through and remix/record. In March 1971, Kit Lambert made an attempt to do just that with the band in New York, though these sessions flopped miserably.

Enter Glyn Johns.

Offering his services for a week as a test, Johns stated that if it didn't work out then The Who would be free to carry on and they could keep the results without paying for a second of his time. Things went exceptionally well as Johns captured the band firing on all cylinders, utilizing the Stones' mobile recording unit in the process. Agreeing to move the operation to Olympic Studios in London, they went to work and laid down two records worth of material in just a few weeks. All that was left to do was mix and choose the tracks that would make the final master tape.

THE MONSTERS

Four of the LP's nine songs stand pretty tall and are virtual staples of classic rock playlists almost forty years after they first appeared.

"Baba O'Reilly" must have been an obvious choice to kick off this groundbreaking set. Opening with a wildly inventive pattern that was taken from Pete's nine minute demo version on ARP synthesizer, a tension of sorts is created by this patchwork quilt of electronic sound. Reportedly, Townshend translated Meher Baba's vital numerical statistics to the synth to achieve this hypnotic sequence. Bricklayers hands come down on the ivories to introduce those iconic three chords and Moon quickly joins in with a flourish on the kit. Entwistle and Daltrey enter the fray together and the building blocks of an anthem are nearly complete. The icing on the aural cake are those big power slashes on the electric, which arrive close to the two minute mark.

Don't cry, don't raise your eye, it's only teenage wasteland

Blasting back to the main riff temporarily, everything hangs in the air with a final scream from Daltrey and a series of punches. What follows is a wild violin solo from Dave Arbus that moves across this transition as the band goes from mock jig to wild abandon. Moon shifts to a scattershot snare roll that climbs to a ridiculous crescendo, sweeping everyone else into his madness, and the rush of beautiful noise ends abruptly.



All is presented with a clarity that had escaped their grasp in the studio up to this point.

"Bargain" is another stunner, cleverly employing the moog synth for the hook. The lyric ("I'd gladly lose me to find you") can be construed on several levels, though according to Pete, "This song is simply about 'losing' one's ego as a devotee of Meher Baba. I constantly try to lose myself, and find him. I'm not very successful I'm afraid, but this song expresses how much of a bargain it would be to lose everything in order to be one with God."

Moon and Entwistle are inspired throughout, both playing with their usual fire. Their recorded contributions now cut through powerfully, no longer strangled or off balance in the mix.

Moving ahead to the two monumental tracks that close out Who's Next, the electric thrill that pervades each performance is more than enough to send listeners back to repeat the experience over and over again. Beginning with delicate acoustic picking, "Behind Blue Eyes" was designed as a vehicle for a shady character named Jumbo in the scheme of Lifehouse. Outside that context, there does seem to be more than a hint of bile in the lyric ("I have hours only lonely/my love is vengeance/that's never free), though the melody is fantastic. After two cycles of muted rumination about how it feels to live behind those aforementioned eyes, the arrangement roars to life. It is almost as if Keith had been tied to a chair for the first bit and freed himself in time to turn in a series of rolls that amaze as Daltrey practically spat out the words:

When my fist clenches, crack it open
Before I use it and lose my cool
When I smile, tell me some bad news
Before I laugh and act like a fool

And if I swallow anything evil
Put your finger down my throat
If I shiver, please give me a blanket
Keep me warm, let me wear your coat

Power chords fly, bass runs blaze and drums tumble back to earth only to go quiet again as we are returned to where we began.

No time is allotted for recovery as the soft landing gives way to a quick shot of adrenaline. Another synthesizer envelope heralds "Won't Get Fooled Again", prefacing nearly nine minutes of this startling call to arms. Curiously, the use of the ARP to set up the final shot across bow serves to bookend the disc in grand style. Isn't this where we came in?

The subject matter also served to disabuse certain followers from any notion that The Who would lend their support to radical movements that sought societal change by revolutionary or violent means in that era.

Meet the new boss, same as the old boss

Again the theme of change coming from within and not by following the lead of another crop of idiots in Harris tweed suits was expressed beautifully by one of rock's most eloquent spokesmen. The sheer power of these four songs alone could light several large cities for a year.

THE REST

Out of the remaining five tunes, there are very charming highlights. Entwistle's "My Wife" is hilarious, with nice changes and punchy brass parts that hit the spot. Similarly, "Love Ain't For Keeping" features immaculate acoustic work and very tasteful playing from the rhythm section. Daltrey should have let Townshend sing lead, though.

"Going Mobile" is one of my personal favorites out of the second string numbers. While the remaining two selections boast nice melodies and are certainly inoffensive, I would have left them off. Make no mistake, this is a top shelf piece of vinyl as it is, though allow me to tamper with the time machine a bit.

Baba O'Riley
Bargain
Love Ain't For Keeping
My Wife
Let's See Action

Pure And Easy
Going Mobile
The Relay
Behind Blue Eyes
Won't Get Fooled Again

Easily five out of five lobsters...

This is work that anyone would be proud of. With Townshend's creativity at a peak and the focus that Glyn Johns brought to the table, The Who pulled themselves back from the abyss. They were now able to put the Walker boy aside for awhile to follow their own act with grace. Surviving the sixties, which had wrought its share of casualties and wreckage, the band now took a step ahead of the pack as the seventies began.

The next act would see them looking to the past for inspiration.

A LIVE ONE

LIVE AT LEEDS

While the deaf, dumb and blind kid more than kept the band in the public imagination throughout the remainder of 1969 and into the new decade, The Who rode the crest of this monstrous wave on tour. Their relentless schedule served to sharpen their already brilliant live act, bringing them to a virtually unrivaled playing peak. Few groups of the time combined harmony, melody and yet still managed an all out assault on the audience in terms of decibel levels. Dynamic, tight and breathtaking on stage, they brought Tommy to the Metropolitan Opera house in New York and played a very memorable set at Woodstock, setting every venue on fire with their intensity.

Pushing into 1970, they had decided to review tapes of North American gigs to see what might be deemed worthy of releasing. Townshend was disappointed by what he had heard, claiming to have tossed the whole pile of recorded shows in a bonfire. Back in 1968, they had similarly considered putting out a document of a concert that they did at the Filmore East. This did not materialize, though the show has long circulated on bootleg in excellent sound quality.

So it happened that they decided to allow their February 1970 stops at Leeds University and Hull to be captured for posterity. Due to technical deficiencies, the Hull tapes didn't make the grade. Leeds yielded a winner, resulting in one of the finest live albums of the era, often cited as the greatest of all time, bar none.

The six songs that were issued from this date were just a fraction of the full set, though all carried the impact of a sledgehammer brought down on a box of cupcakes.

With pink frosting.

Mose Alison's "Young Man Blues" was chosen as the lead-off track as the trio burned behind Daltrey's blustering vocal. Moon made it seem like ten people were playing, his hands a mere blur and he kept up a furious pace, pinwheeling across the skins at the speed of a dentist's drill. Keep in mind that he would sustain this momentum for two hours plus.

This version was filmed in July 1970



Roaring through old Who favorites ("Substitute", "My Generation") as well as rock and roll covers ("Summertime Blues", "Shakin' All Over"), the original record culminated in an absolutely devastating "Magic Bus".

Any self-respecting rock fan should have a copy of this in their collection.

The cover was stamped in the manner of a bootleg release and was seen at the time to be somewhat of a stop gap measure (albeit an excellent one) that would keep their fans satiated until the follow up to Tommy materialized.

Speaking of pirate recordings, the complete show at Leeds made the rounds for years, warts and all. In the mid-90s, with the advent of far more advanced audio-post technology, the imperfections that wrote off many of the performances on the master tape were fixed. This paved the way for an expanded Leeds disc to hit the market. Great news for fans, though the die-hards knew that a full performance of Tommy was still in the vault. This officially saw the light of day in 2001 when the "Deluxe Edition" came out, thereby delivering the entire package for hard core collectors.

Or did they?

As of fall 2010, the lost Hull show was cleaned up and boxed with the Leeds sets. Apparently, the group had long thought that the Hull gig was far superior to that of Leeds and so the 40th anniversary edition was unveiled.

According to legend, Entwistle's bass signal was "lost" on pretty much all of the Hull recording. Seems like it was "found" just in time to mark another milestone. As with the live tapes that supposedly found their way into the pyre, it's very likely that this was an apocryphal tale.