FORGOTTEN MUSIC THURSDAY-ILLEGAL STILLS

Following the creative triumphs that Stephen Stills had with his first solo albums, plus the excellent Manassas double set in 1972, he experienced a slight dip in commercial fortunes.

Bearing the weight of wearing too many ten-gallon hats (writing, production and financially carrying the operation), he dove into sessions for the second Manassas album. Down the Road did not have the spark of its predecessor and the group quietly disbanded.

After that, he rekindled his musical relationship with Crosby and Nash for a huge tour in 1974 (with Neil Young on board to put the Y back in the law firm), though the promise of a new record by the reunited quartet was blown out of the water due to battles in the studio. Allegedly, Stills took a razor blade to the master tape of "Wind on the Water", arguing with Nash about a single harmony part. Crosby and Nash decamped, returning to work as a duo.

New material was in short supply. Cocaine fueled Stills at this point, very nearly undoing the gifted musician. He certainly wasn't alone in his indulgences, however, the impact of the drug upon his creativity was negative.

Consequently, the follow up to Stephen Stills 2 took shape in piecemeal fashion over a period of several years. Featuring a staggering cast of contributing musicians, the tepidly received "Stills" was issued in June of 1975. Undaunted, "Stephen Stills Live" hit the marketplace at year end while he continued work on his next studio project.

1976 saw music trends shifting toward flabby soft-rock, watered down disco and a boatload of generic pop. The revolution had come and gone, with those left to fly the freak flag that had caught its first breeze in the sixties out of their element.
Business concerns overrode the constructs of the hippie dream, as state of the art, 48 track studio facilities cranked out product, performed in an antiseptic manner by faceless session crews. Passion, spark and energy were carefully edited out of final mixes in a vain attempt to attain recorded perfection.

Where would he fit in this equation?

Illegal Stills boasts a stripped down lineup, which is a plus. While production values are high with a fair amount of polish, the playing remains cohesive and inventive. Very much a collaborative effort, former Spirit guitarist Donnie Dacus plays the role of right hand in the process. Critics didn't quite warm to the final result, which is strange as the ingredients of this mason jar featured his familiar stylistic approaches (Latin flavored beats, blues, acoustic driven pop). The real reason for their indisposition was likely that there simply wasn't enough Stills etched into the final platter, though I'll touch on this point later.

Opening strong, "Buying Time" has Stills weaving lyrics around the theme of failed Nixon/Ford era economic policies. The music hits a deep groove with the rhythm section driving the tune (bassist George "Chocolate" Perry was a key addition to the band). When vinyl ruled, it was important to grab the listener as soon as the needle hit the playing surface. Incredibly infectious, the hook is vaguely reminiscent of "Love the One You're With".

Employing peerless vocals accompanied by immaculate acoustic guitar, "Stateline Blues" is another potent track. The LP version adds muted bass and drums with some slide to ice the cake.

Stating his business quickly, in a voice infused with world-weary soul, he nails it live on a tour stop in early '76.

Brevity is the soul of wit.



"Soldier" could have easily been lifted from the first Manassas LP. Melodic with a spicy, salsa-inflected bedrock and a "should have been a single" chorus, the block harmonies tie it all together. Doesn't overstay its welcome either. In a similar vein, "No Me Niegas" continues his love affair with Latin music, paying tribute with a subtle ease in a genre where many musicians fear to tread. Going to the well for a cover, Stills curiously chose "The Loner" out of the Neil Young songbook. The crew opts to attack it uptempo, though the arrangement lacks Young's signature bridging riff that separates verse and chorus. He takes liberties with the pre-verse guitar figure, too. Young fanatics may take exception to the tampering but it makes for an interesting listen, despite the differences.

What can be said about his partner in crime here?

Dacus has his share of fine moments ("Midnight in Paris", "Closer to You") bringing a smooth vocal delivery to his compositions and trading tasty licks with the boss. While talented in his own right, you get the feeling that he lacks the charisma/grit of the star of these sessions. Yet Stills depends on him to prop up his ideas, filling in the blanks where needed. Insert conversational marker here!

Closing out with straight ahead rock, "Circlin'" borrows its piano figure from Bad Company's "Run With the Pack" which was released just a scant two months prior. Illegal Stills indeed...

Now some fairly decent arguments have been put forward with regard to the merits of this record. There are some standout cuts, it is fairly well crafted and the playing is pristine enough to eat dinner off of. Despite these high points, it still lingers in the bin marked as "forgotten music".

Why?

When the proverbial second shoe clunks to the floor, we find Stephen Stills turning in work that is stellar in places and augmented by a junior partner in others. By no means are the contents poor. When inspired to take the wheel, he drives masterfully. It just seems that he dozed off for a bit in the back seat for parts of this project when he wasn't feeling particularly switched on. The lack of a hit single didn't help, either.

Remember kids: You can lead a horse to water, but the cow must get milked...

That being said, Illegal Stills contains enough intoxicants to make it worth drinking from. If you're a fan, find an inexpensive vinyl copy to enjoy.

ROLL UP!

Magical Mystery Tour was the third Beatles movie, built up to be the television event of the 1967 Christmas season.

That was until people actually watched it.

Originally screened on BBC 1 in the UK on December 26, 1967, the film clocked in just shy of an hour. Though it was shot in color, the "Beeb" broadcast was in dreary black and white.

Reviews were decidedly unkind.

BBC 2 gave it a whirl in its intended color format a few days later, but the damage was already done. The music fared much better with the public. I didn't quite rate it as their finest hour (the original six song EP).

Plans to televise MMT in the US quickly went up in smoke. No proper North American theatrical release happened until the mid seventies and even that was limited. VHS copies began to surface in the eighties, long after it had pretty much gained status as a cult item. More folks had read about it than those who had seen this rare bit of Beatle history. By the nineties, both a laserdisc (1992) and DVD (1997) version hit the marketplace, coupled with The Beatles Anthology series, further raising the visibility of this former curio.

Here we are in 2012 and the Mystery Tour has been polished up/restored for worldwide DVD and Blu-Ray release on October 8th! The collectors edition may just be the version that I scoop up.




"Ladies and gentlemen, what you are about to see is the product of our imaginations and believe me, at this point they are quite vivid"

Nice PR talk track, Paul. "Mystery tripping out of our fucking minds on LSD" is more like it.

To be fair, while MMT is not Oscar worthy material, there are flashes of brilliance. Aunt Jessie's dream sequence is sadistic, the Bonzo Dog Doo-Dah Band performance with the stripper is bizarre (Viv Stanshall's Elvis inflected vocal is insane) and the visuals that accompany the soundtrack are pretty cool. How about that Busby Berkeley homage for the big finish?

Hey, the Bonzo's tune, "Death Cab For Cutie", even provided a shitty contemporary band with their name. So it's win-win!

There is a hint of the whimsy that the Python troupe would eventually bring to television, though it lacks the cerebral, comedic structure within the silliness. Containing a few laughs, two exceptional tunes ("Fool On the Hill" and "I Am the Walrus") and some wild editing, it is worth a look.

Don't you want to see this film now? Living in the golden age of YouTube allows for a sneak preview. Pack a bowl before you do, as everything will make much more sense.

Should you also happen to own a vinyl copy of MMT, grab it and hold the front cover up to a mirror.

A phone number will magically appear in the stars that spell out BEATLES.

Dial it up. I double dare you!

The person who answers will be waiting for your call...

BLADE OF GRASS- NEW VIDEO

Blade of Grass have an excellent new video for "Who You Gonna Run To". It's one of my favorite tunes by the duo, soon to become yours. You can support the guys and purchase this and three other selections from their Radio Sampler EP.

Great new music is out there, waiting to be discovered.

Check out their Facebook page to find out the latest on Blade of Grass.

BUFFALO SPRINGFIELD

BUFFALO SPRINGFIELD AGAIN

Constructed from fragmented sessions where the original five members rarely shared the same studio or any common ground, it is a wonder that the second Buffalo Springfield LP exists. Out of chaos, in-fighting and a large cast of contributors came their finest record.

Neil Young and Stephen Stills often had very different ideas about the creative direction of the group. Frequently clashing, their contributions to the set were mostly recorded separately. There were instances where they would chip in on instrumental or vocal parts for one another, though it was the exception rather than the rule.

Young's driving opener, "Mr. Soul", would be one of the few cuts where the quintet laid the track down together. Dewey Martin and Bruce Palmer come off like the Stax house rhythm section, pushing the beat while the guitars do an unmistakable variation of the "Satisfaction" riff. Purposefully vague, the lyrics seem to be an uneasy
reflection of the author's love/hate relationship with audience expectation.

In a while will the smile on my face turn to plaster?

Typically, Neil has avoided any analysis of the song. Like the majority of his work, it has held up quite well. The remake that he did 15 years later for Trans is nearly unrecognizable. He has expressed regret for adding further guitar overdubs to the original version. Stills had advised him that it was done. Young messed with it some more, yet he did not improve upon the initial take. This would be a lesson that he would take to heart soon after he had started playing with Crazy Horse: Get it down and move on.

Melodic sense and a sure touch with a tune benefit Stills' offerings. "Rock and Roll Woman" is the best of the pack in this vein and points in the direction of CSN (with David Crosby himself involved in backing vocals and co-writing). "Bluebird" is another standout, judiciously pared down from over eight minutes of extended jamming. It would become a highlight of their live shows with Stills/Young guitar wars adding to the excitement factor.



Country rock is spotlighted in Ritchie Furay's jaunty, "A Child's Claim to Fame", which was a veiled shot at Neil Young and his less than stellar commitment to the Springfield. James Burton adds dobro to this fine blueprint for the material that would comprise the first Poco album. Every selection on this disc brings with it a seismic shift in style. Another element that brings variety is guitar texture, which is utilized perfectly throughout. Just listen to the distorted, harmonized lick that kicks off "Hung Upside Down". Further evidence comes with the chiming acoustics on "Rock and Roll Woman" and the over-driven, angry frown of a note that cuts across the beginning of each verse of "Everydays". The soloing is mad, untamed.

In terms of return for effort, the thirty days of recording and mixing that eventually gave birth to "Expecting to Fly" were well spent. Written by Young and arranged by Jack Nitzsche, this stunning exercise bears the stamp of a Brian Wilson soundsscape filtered through Neil's special lens. Sunrise is evoked by that long opening note that flowers into a burst of strings just as the other instruments stumble in to support the verse. Nitzsche deserves special mention for bringing all of the components together that make this one so compelling. Geniuses working in tandem.

"Broken Arrow" is another haunting tune which loses points only for the overly cluttered, "kitchen sink" production job. Stills' harmonies on the chorus are stellar but some of the effects/tricks that precede each verse detract from the beauty of the melody. In the wake of Sgt Pepper, many ambitious recordings began to flood the market. This is a case where a re-think and some restraint would have been welcome. (especially that cheesy Take Me Out to the Ballgame organ snippet). There has been much conjecture about the meaning of the words, which some have construed as a rumination on major events up to that point in the sixties. Unfathomable is how I see it. To Native Americans, a broken arrow is a symbol of peace.

In retrospect, it's fairly easy to say that the main writers were charting the course for their own future projects. "Again" definitely benefits from the strong work that they turned in. Dropping "Sad Memory" and "Good Time Boy" to add another of Young's compositions would have added value to the overall presentation. Despite critical acclaim, commercial impact was slight. How this quietly beautiful work escaped record buyers at the time is a mystery. Perhaps if the personalities involved had worked harder to achieve a united front, they could have captured a larger audience.

Regardless, Buffalo Springfield Again stands as one of the premier releases of 1967, easily the equal of anything that was unveiled during that pivotal year.

KINKS AT THE BBC

August 13th is a date that fans of The Kinks should be truly excited about as it marks the release of Kinks at the BBC. This will hit the market in two formats: Five disc plus DVD box set and a stripped down, two CD package.

The Kinks were a top class British Invasion act who had a huge impact on both their contemporaries and subsequent generations of groups. At their peak, they were overshadowed by the giants of the era. The BBC sets will remind listeners of why they were so important.

More info, including track list can be found here

CROWDED HOUSE

TEMPLE OF LOW MEN

Popular music took an extremely unfortunate sonic detour into technocratic mediocrity in the eighties, with the advent of digi-crap, synth pads and annoying drum sounds. Worse still was the gratuitous amount of reverb that most of the productions of that period were drowned in.

Talentless dolts that never would have made it past a hailstorm of flying beer bottles toward the stage became liberated from such pesky tasks as playing their instruments, singing on pitch and in most cases, crafting a decent song. Crass commerce won the day, with dumb, day-glo videos distracting listeners from the fetid stench emanating from their speaker grills. This is really where things went horribly wrong with the so-called “music biz”, creating a very nebulous and disparate atmosphere that allowed many pretenders (all apologies to Chrissie Hynde) to clog the charts with more garbage than ever thought possible.

Thankfully, there were artists that chose to eschew the trappings of prevailing trends, writing and producing music that would escape the gravity of the era in which it first appeared.

If you asked me to bet on an individual who would make the top of the class as a contemporary pop tunesmith, I’d tell you that the smart money would be on Neil Finn.

Cutting his musical teeth as part of his older brother Tim’s band (Split Enz), Finn flowered as a writer, penning several of the group’s hits in the early eighties before that aggregation’s rotating lineup sputtered out. Following the Split Enz farewell tour, he and drummer Paul Hester joined forces with bassist Nick Seymour to form The Mullanes in 1985. Relocating to LA, Capitol records encouraged them to change their name to Crowded House. “Don’t Dream It’s Over” connected as a hit single from their self titled first LP in 1986, though it took some time before radio discovered it. Lucky it was, as listeners were treated to well crafted, edgy, melodic pop which owed a debt to the golden age of mid-sixties mixed with Finn's own particular vision.

Dark shadows loomed over the subject matter of his compositions for the immaculate follow up disc, Temple of Low Men. Forced to capitalize on the momentum gained from their first outing, Neil delivered under pressure.

Breaking the sophomore jinx has proved difficult for many bands, as the old saying rings true.

You have your whole life to write your first record and little or no time to produce the second one.

Produced by Mitchell Froom, who also contributed on keyboards, the disc contains none of the grating synths or clangy drum noises that were all the rage in the late 80’s. The decision not to obfuscate the end results with the shallow sounds of that time period proved to be wise, ultimately giving the material a much longer shelf life. Instead, great care was taken to capture warm, stripped down takes from the three instrumentalists (four with the addition of Froom) who played with taste and restraint, always in service of the song. All selections are thoroughly engaging with nary a note going to waste in the entire program.

Gelling as a trio, the musicians create an intimate soundscape, augmented by Froom's atmospheric parts. Spooky vibes permeate the opener ("I Feel Possessed"), with icy retro keyboard textures sweeping over a choppy, stop-start beat in the verses that perfectly complements the sentiments expressed in the lyric. Describing the claustrophobic element of an all consuming relationship succinctly, even when the musical tension snaps in the hooky chorus, the ominous fact remains.

I feel possessed when you come round

Touches of cynicism and introspection are everywhere, with the listener getting a sense that the author of these lines could be expressing serious doubts about newfound success, partnerships and a host of other possibilities. This desultory, minor-key unease is leavened by truly great melodies for which Finn has a natural touch. Humor, however black it may be here at times, is the other crucial ingredient in the successful blend of personalities within Crowded House. Paul Hester was generally the ringleader when it came to the infusion of silliness onstage or alleviating the "serious quotient" that often makes obligatory promotional interviews fairly joyless for entertainers.

Their skills at putting their material across in a minimalist fashion served them well.



"Kill Eye" comes across almost as a bizarre, lost White Album cut. Chord changes swirl over a dense, insistent pulse rife with extraneous noise. Easily one of the more experimental journeys taken on this sometimes nervous soundscape. Just as you think you're headed in one direction, the ride jolts abruptly and peels into a 180 degree turn. "Into Temptation" is an unsettling exploration of human weakness, painted so vividly that it caused the author's wife at the time to question the inspiration. The arrangement features mellotron parts flown in from twenty years in the past. They join soft acoustic guitars and brushed snare in a triumph of aching economy. To me, this ranks with Squeeze's "Tempted" and Lennon's "Norweigan Wood" in terms of evoking the raw emotion of remorse in the wake of infidelity.

Or something like that.

You laugh at yourself while you're bleeding to death

Chalking up another tale rife with bitter wit, "Mansion In the Slums" presents some of the most sarcastic lines on the album, though it is done with such melodic aplomb that they sneak by on first spin. Meditating on the age old traps of greed and ego, there is no preaching involved. The dark undercurrent is subtle, yet the message is delivered.

Who can stop me? With money in my pocket. Sometimes, I get it free. The best of both worlds.

The laughs just keep on coming, though it wins my vote for the stand out in a class of high achievers. "Better be Home Soon" scored as a single, though the enticing melody and heartfelt plea for the return of a love interest is tempered with dismissive ultimatums involving the fact that the author is "right" and may decide to bail even if the object of their desire does come back.



Strong contributions from everyone involved makes the hard medicine go down fairly easily. "Never be the Same" and "Love This Life" provide real bite without ever straying into turgid, humorless territory. One thing that floored me at the time was the lack of impact that Temple of Low Men had in comparison to its predecessor. They had joked about titling it as "Mediocre Follow Up" or "Krakatoa", though it is nothing less than a spotless ten songs. Quietly beautiful song craft doesn't always translate into mass success. Fairing respectably chart-wise, it certainly deserved much more of a response from record buyers at that time.

Brimming with invention and energy, the music has aged remarkably well, sounding every bit as fresh as it did when I first picked it up. There is something substantial lurking beneath the surface of every cut. Highly recommended listening.

TIMOTHEOS

The Mourning Star EP

Timotheos has just released a new EP of ambient music that he is generously offering as a free download. Let the carefully layered sound textures lead you along previously uncharted introspective paths.

It is waiting for you on his Facebook page

In the meantime, a small sample to enjoy.

FORGOTTEN MUSIC THURSDAY-DRAMA

DRAMA

Given the set of circumstances that surrounded the recording of the tenth Yes album, its title could scarcely be more appropriate.

Following a brief hiatus from recording they returned and managed to produce two discs in the late seventies (Going For the One and Tormato) with the same lineup. Wrapping up a world tour in 1979, it seemed reasonable that Anderson, Wakeman, Howe, Squire and White would regroup to work on new material to usher in the new decade.

Attempts were made to do so, though creative sparks did not fly.

Exit Anderson and Wakeman...

Yes without the signature vocals of Jon Anderson seemed unthinkable. Over a twelve year period players had been fired, replaced, had quit, rejoined...but the singer?

Trevor Horn and Geoff Downes of The Buggles were unabashed admirers of the prog rock legends. Replacing the departed, the unenviable task of filling Anderson's shoes fell to Horn. To hardcore followers this was sacrosanct. Opinions were naturally divided when Drama was originally released in 1980, though it was given a much warmer reception in the UK than in America.

Trevor Horn probably still drops to the ground in a fetal ball when thinking about the tour in support of the LP.

Nevertheless, the passage of time reveals this to be quite a good record. Squire wrapped his harmonies around those of the new recruit (abetted by Howe) giving the illusion that Jon had indeed contributed to the sessions. Close inspection reveals otherwise, though the revamped quintet catches fire, tracking with a harder edged approach. Everyone acquits themselves admirably, obviously inspired by the adoption of fresh ideas.

Six tunes were spread over two sides of the original vinyl version. Highlights are "Tempis Fugit", "Into the Lens" and the sprawling "Machine Messiah". The remaining tracks are certainly inoffensive, though not spectacular. You can hear the sonic metamorphosis taking place that would result in the first Asia project and the formation of "Yes-West". These developments would see many long time listeners turn away in disgust, while younger devotees came on board in their place. This was still a couple of years away, though.

Back to 1980.

White and Squire lock in furiously, the latter soloing with abandon in the middle of "Machine Messiah". Downes utilized the most contemporary synth voicings in very imaginative ways, without sacrificing technique. His nimble fingers effortlessly match the scale burning of Howe and Squire. Howe's style and guitar tone are radically transformed as he leans heavily on a more metallic sound. While it isn't quite "metal", it is a far cry from the more delicate, jazzy runs that he had previously favored.

With so much going for it, the disc still languishes in the cut-out bin of forgotten music. When an established act deviates from the expected stylistic framework, there is usually mutiny amongst the faithful. To many, Anderson was simply irreplaceable and that sealed the fate of this incarnation of Yes. Revisiting Drama definitely has its share of rewards, as the playing and production are solid. Perhaps those who had hitherto ignored this one might now listen with a more mellow viewpoint (hey, it's been 32 years!) and discover its charms.

YES

THE YES ALBUM

Imagine the shock that listeners must have experienced upon first getting acquainted with this record.

Stratospheric vocals arched over playing that was as muscular as it was dexterous. The future had arrived in the form of a progressive rock mothership, which deposited a musical payload that left a blast-crater five miles wide.

It's still smoldering some 40+ years after the event...

Although they have their share of detractors for various reasons (Anderson’s soaring tenor for some, the sheer length of the material for others) their strengths far outweigh any perceived faults. The Yes Album contains some of the most beautiful noise that they ever committed to tape.

One key change in the lineup sealed their fate. Guitarist Peter Banks made his exit (was elbowed out) following Time and a Word, replaced by Steve Howe. Radically altering their sound, greater commercial fortunes were now close at hand.

As time wore on, a revolving door would be necessary to facilitate the comings and goings of players.

Perpetual Change...

Melody in song construction is a big key as to why this became their breakthrough. There is a virtual minefield of hooks embedded in every cut, with an underlying intelligence that draws in the listener rather than seeming calculating or exclusive. Opening with authority, "Yours Is No Disgrace" is a long form piece that takes you on an exhilarating ride. Anderson is tracked with bloodhound like precision by Chris Squire's harmonies. Squire further amazes by practically attacking his Rickenbacker bass with edgy, rollercoaster runs. For all of this, the lyrics do stretch the definition of inscrutability to extremes at times. Perhaps Anderson was more concerned with scansion that pleased him rather than the actual words themselves. He has suggested that this was written with an anti-war theme in mind.

I think that there was likely a pile of dope around to "help".

Yesterday, a morning came / A smile upon your face / Caesar's Palace, morning glory / Silly human, silly human race...



Bruford seals his place as a premier drummer, madly inventive but still tasteful. Tony Kaye anchors it all with extremely intuitive keyboard flourishes. I have to state that I much prefer the material here to what was conceived for the follow up (Fragile). There is greater consistency in that even a minor effort like "A Venture" is far more satisfying than similar fare from the next LP ("We Have Heaven")

How(e) about that new kid on guitar?

Bringing a heady mixture of classical, jazz and Chet Atkins into the fold, Howe perfectly compliments the group dynamic. "Starship Trooper" contains extraordinary passages. Those ethereal descending runs that color the "speak to me of summer" section, the dead stop which ushers in virtuoso acoustic fingerpicking and the hypnotic, phased "Wurm" outro all amount to a masterclass in just under 10 minutes. This man is perpetually overlooked when those frustrating "best guitarist" lists are drawn up, which is unbelievable considering his estimable talents.

"I've Seen All Good People" remains the most accessible slab of multi-part wonder in the set, earning a slot in classic rock play lists, where it is still heard regularly. Borrowing a phrase from John Lennon, the message of peace is sincere with a seductive melody and a riff that Jimmy Page could almost claim as his own in terms of style. They really should have closed out the disc with this one as it has much more visceral impact than the more sedate "Perpetual Change". No need to quibble, as both are more than worthy.

All of the most impressive qualities of this exceptional band are present on The Yes Album. Epic compositions are nicely beveled with enough stunning detours to give the listener variety, with the indulgences muted (for the most part). Both sides are broken up by breezy interludes that hold interest and clear the sonic palette before the next substantial course. Overall, a great place to begin your journey into their discography. Undeniably, one of the most stirringly creative, accomplished bands in the universe.

People are still struggling to catch up with them.

GOODBYE TO JON LORD

Jon Lord: classically trained pianist, composer and co-founder of Deep Purple has passed away today at age 71. His writing credits include some of Purple's best known songs, including "Smoke on the Water", "Black Night", "Strange Kind of Woman" and "Child in Time". Breathtaking assaults on the Hammond B3 became a signature, placing him squarely at the center of the prog-rock movement as it began to take shape in the late sixties. He pioneered rock and orchestral fusion with his Concerto for Group and Orchestra, first performed by Deep Purple with the Royal Philharmonic Orchestra at London’s Royal Albert Hall in 1969.

Blues, jazz, symphonic pieces...his range was stunning, extending to many genres. His session work was also extensive.

Sadly, our culture currently seems to be celebrating the anti-musician, with dancing idiots in headsets conveniently bypassing the 10,000 hours of practice traditionally deemed necessary before taking the stage. The performances captured below serve as a reminder of his great talent.

Lord was a gent, legend and a craftsman. Today the music world has lost one of the true masters.

LADY MONDEGREEN

Mondegreen: the term for misheard song lyrics that give rise to new words or meanings.

Sylvia Wright coined it in an essay she had written for Harper’s in 1954, recounting a frequent mishearing of a lyric from a Scottish ballad called “The Bonny Earl O’Moray”

As a child, Wright heard the words as:

Ye highlands and ye lowlands
Oh where hae you been?
Thou hae slay the Earl of Murray
And Lady Mondegreen

Of course, Lady Mondegreen existed only in her mind, for the correct line reads, "slay the Earl of Murray and laid him on the green." To this day the "mondegreen" has been used to describe all misunderstandings of this type.

Here are a few classics:

“Secret Asian man”

“Chicken to ride”

“’Scuse me while I kiss this guy”

"There's a bathroom on the right"

"Slow walkin' Walter"

Feel free to share your own interpretations in the comment section.

THE KINKS FIFTH

SOMETHING ELSE BY THE KINKS

Occasionally, I turn off the old Victrola and actively search for new music. While there are lots of great artists/bands out there doing interesting stuff, much of it never finds a home on mainstream radio. What does get marketed is often devoid of ideas and barely tied to a tune.

Rinse, lather, repeat…verse, pitch corrected chorus, verse...

Remember when radio had room for a wide variety of sounds/great songs?

Something Else By the Kinks is filled with them.

1967 witnessed an explosion of rock music that was outrageously bent and filtered through a prism of drug induced “experiences”. Many writers of the era saw pot and psychedelics as useful tools to enhance their creativity, with some successfully taking their listeners on wondrous sonic journeys. Others under this same narcotic spell managed little more than self indulgent, pretentious attempts at profundity which should have been left on the cutting room floor. The Kinks steered well clear of “happenings” in the year of flowers and beads, opting instead to focus on making great records.

Disclaimer: If you approach this album expecting "You Really Got Me" or "All Day and All of the Night" type stuff, you will be disappointed.

The ability of the quartet to lock in and let the riffs steer the ship was merely one facet of the band’s personality. This template would inspire countless imitators, with each subsequent generation increasing the decibel count. Their previous effort (Face to Face) took a giant step away from the power chords that initially made them such an important band. Virtually all of the material here (“Love Me Til the Sun Shines” excepted) was constructed with a more subtle approach in terms of style and arrangement. Augmented only by occasional brass or keyboard parts, Something Else sounds like nothing else released in the year of grandiose productions. This in itself has given these lovely melodies a life outside of the time frame in which they were created.

Opening strong, "David Watts" ingeniously deploys the note that follows “so” repeatedly, for maximum impact:

Fa fa fa fa fa fa fa fa
Fa fa fa fa fa fa fa fa

Serious rock criticism at work here!

Primarily inspired by a bi-sexual, former officer who became obsessed with Dave Davies, the tune is driven along by Mick Avory in suitable military fashion, though it is piano based, leaving the guitars muted. The hook is infectious as is the energy generated in the performance.

“And all the girls in the neighborhood /try to go out with David Watts / They try their best but can’t succeed"

Indeed...

Further surprises came with the emergence of Dave Davies as a writer. His “Death of a Clown” is a definite highlight, holding its own amongst the compositions that brother Ray brought to the table. Combining the surrealism of Dylan's wordplay with a truly eerie but enjoyable turnaround (listen to that backing vocal courtesy of Ray's ex-wife Rasa), the sing-a-long chorus sealed its place in the UK top five during the summer of '67. Ray did contribute to this one, to give credit where it's due.

Won't someone help me to break up this crown?



Elsewhere, Dave's other two offerings ("Love Me Til the Sun Shines" and "Funny Face") bring a bit of a balance to the disc and in the case of the the former, an uptempo rock piece to open side two. The BBC radio version of this one is faster with some dexterous drum breaks toward the end courtesy of Avory.

Reality, the stock in trade of Ray's vignettes, features prominently as a theme throughout. Whether he is imagining missing the female companionship of the girl who joined him for the daily, most English ritual of taking tea ("Afternoon Tea"), musing about the drudgery of working class life, punctuated by the small reward of rolling your own ("Harry Rag") there is a sense of sadness behind some of these creations. “Lazy Old Sun” sonically demonstrates this aspect of "down", yet showcases Ray’s depth as a wordsmith. “That Lucky Old Sun”, a popular tune from 1949 (Louis Armstrong and Frankie Laine both had success with it) has a lyrical theme that finds the singer bemoaning all of the toil and struggles that life brings, “while that lucky old sun has nothin' to do /But roll around heaven all day”. Whether Davies projected this subconsciously or not, his old sun is depicted as “lazy” for not casting its glow upon him. Incorporating sun worship into the mix, he is as quick to praise our solar orb as he is to chastise it.

“I don’t mind/To spend my time/Looking for you/For you are my one reality/When I’m dead and gone/Your light will shine eternally…”

The song’s most clever line shows him to be well ahead of many of his contemporaries in terms of wordplay.

“When I was young/My world was three foot, seven inch tall/When you were young/There was no world at all…”

Lethargic music complements the mood of the lyrics perfectly, with tumbling drums at half speed, droning keyboard parts and a stoned lead vocal. The overall sound drifts close to certain tracks from Their Satanic Majesties Request which also qualifies it as “Stoned”. Certainly the closest that R. Davies ever came to emulating the psychedelic experience on record.

Disappearing sunshine only adds to the air of melancholy that pervades throughout. Endings take precedence over beginnings. As the long happy afternoons of the summer of love began to shorten, bowing to the inevitable change that would usher in chilly fall evenings, this beautiful set was brought to the marketplace.

End of the Season

On a side note, if the brilliant "Autumn Almanac" had been included on the original release, it would have been a coup. I cannot think of a better fit with an album that is positively redolent of Fall.

(Kick off "Tin Soldier Man" and "No Return" to bring in this track and "Wonderboy" and you have a perfect 10.)

Nothing could have followed "Waterloo Sunset", wisely chosen as the closer. Originally titled "Liverpool Sunset", Davies intention was to create a tribute to the Northern port city, cradle of the "Mersey Sound" that spawned the Beatles and their Liverpudlian contemporaries. This approach was dropped, though it would be interesting to find out how this would have sounded had he followed his initial train of thought. The focus is shifted instead to the lonely observer ("but I don't need no friends"), who watches the lovers (Terry and Julie) meet at Waterloo Station. Pure poetry at its finest, working within the bounds of a melodic pop masterpiece.

Pity that people roundly ignored an album of such quality when it was originally released. It unfairly missed the charts and sank commercially. This was due in part to the fact that no attempt was made to run with fashionable themes of the day. Fortunately, the fullness of time has revealed the subtlety and ingenuity behind these songs. Ray Davies was ahead of the curve-audiences would simply have to catch up. Had they listened a bit more charitably, they would have realized just how strong this LP was.

One of the top five Kinks records, without question.

FORGOTTEN MUSIC THURSDAY-TIME FADES AWAY

TIME FADES AWAY

Released as a document of the ill-starred 1973 tour with the Stray Gators, this is a very nervous record.

I like it a lot.

"My least favorite record is Time Fades Away. I think it's the worst record I ever made - but as a documentary of what was happening to me, it was a great record. I was onstage and I was playing all these songs that nobody had heard before, recording them, and I didn't have the right band. It was just an uncomfortable tour. It was supposed to be this big deal - I just had Harvest out, and they booked me into ninety cities. I felt like a product, and I had this band of all-star musicians that couldn't even look at each other. It was a total joke."

Out of print on vinyl and still not available on CD are the top two reasons that this rough gem is filed under forgotten music.

THE SETUP

"Harvest" was a huge hit, "Heart of Gold" went to number one and Neil was riding high following his work with CSNY and Crazy Horse. The next logical step was to bring the mellow, back porch sounds of his recent LP on a lucrative tour. Heavyweight players from the "Harvest" sessions were drafted, though one member of the band didn't make it past rehearsals.

Danny Whitten was Neil's right hand in the first incarnation of Crazy Horse on second guitar and vocals. He was talented but headed down a path of heavy substance abuse, leading Neil to dump Crazy Horse for awhile. Whitten was invited to join the new touring outfit based on word that he was in the process of straightening himself out.

He wasn't.

'We were rehearsing with him and he just couldn't cut it. He couldn't remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. 'It's not happening, man. You're not together enough.' He just said, 'I've got nowhere else to go, man. How am I gonna tell my friends?' And he split. That night the coroner called me from L.A. and told me he'd ODed. That blew my mind. Fucking blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and . . . insecure.'

Casting a pall over the tour, the negativity would only be exacerbated with disputes about money and a set of brand new songs that Young wanted to try out and record live.



Switching to a Gibson Flying V that refused to stay in tune, blowing out his voice (Crosby and Nash were brought on board late in the tour to help with vocals) and pissing off fans in packed stadia at every stop by presenting sets of unfamiliar material were all events that marred Young's 90 day trek.

The result was worth it.



Making no attempt to be cuddly, rough edges are left in, capturing things on the fly. Real, though not radio-friendly, Young would be frustrated with his audience and their inability to move with him. Opening with a pounding, uptempo country raver that introduces "fourteen junkies, too weak to work" down on "pain street", the subject matter stands apart from what his contemporaries were singing about. It was the antithesis of the sunny California, singer-songwriter trip which was then in vogue.

Canada features in the lyrics of the title track and "Journey Through the Past", which boasts a great melody and had been around in his set for some time before seeing official release on Time Fades Away. (you can hear it on the BBC session and the Massey Hall gig from 1971). A gentle song that catches the author in a reflective mood, it provides a softer contrast to the junkies on pain street. This was one of three solo piano spots on the disc, each offering a quiet musical snapshot.



"LA' is one of my favorites on the set, with a haunting refrain ("LA... city in the smog..uptight...") and creeping steel part (courtesy of the late Ben Keith) that comes closest in feel to the material on Harvest. Too many artists in the "alt-country" genre have based their sound completely on this musical model, though they fail to create the same mood. (weak songs, little originality) "Don't Be Denied" is autobiographical in tone, covering being beaten up in school through to jumping the border and helping to form Buffalo Springfield. There's an excellent version of it with CSNY at Wembley at the close of their 74 tour. The riff is simple, but effective when married to the pleading nature of the chorus.



"Last Dance" folks, but no one was dancing when a very drunk Young was screaming at the audience in Cleveland ("Get up!!") and making ungodly noise on his out of tune Flying V. That particular performance doesn't show up here, though I kind of wish that it did. Turgidity reigns: this one could have been edited to make room for another cut. Young always had songs in his back pocket and set lists from this tour reveal tunes that are unreleased to this day ("Sweet Joni" being a case in point.)

While it was not greeted warmly by fans or critics, charting outside the top 20, it's an important release. Never before had a major artist put out a live disc, comprised of all new material, with nary a hit single to be found.

Imagine the balls that it took to present this to the record company.

Now it's quite sought after and opinions have since (of course) been revised, though you won't see it released on CD anytime soon. The sonic problem with "Time Fades Away" is stated on the LP label: "This Recording Was Mastered16-Track/DirectToDisc (acetate) by Computer."

The multi-track master tape was recorded/mixed LIVE, leaving little room for remixing tape hiss, bad notes and crowd noise. To reassemble the album, someone would need to sort through fifty or so ¼" and/or 2" multi-track reels and "a few" cassettes. Finding the right version by date would be easy enough, but at what stage would the mix be at? Raw recording? Truck monitor mix? Mono PA monitor recording?



Right.

Best just to snag it on vinyl, as I did when my cassette copy finally died.

RUSH: CLOCKWORK ANGELS

Rush has a fantastic new disc out called Clockwork Angels. Being over a week late to the party, I have only just picked it up and taken it for a spin. Two listens thus far have confirmed that this is top class work.

I would normally submit a review in this space, but in the words of Krusty the Klown...

"I'm a lazy, lazy man."

Fortunately, Paul Lesinski over at Isorski's Musings has solved my problem with his terrific write up on the new album. As a musician and longtime fan of the band, his take is informed and spot on. Before you head on over there, take a quick look at the cover art.

The time is 9:12...or as expressed in terms of the 24 hour clock in the evening, the time would then read as

21:12

That's not the only nod to their past here. The astute listener will hear choice samples of Rush riffs from the mists of the seventies (Bastille Day is quoted at one point).

Don't take it from me, though. Click here

SIR PAUL TURNS 70

He's been a Beatle, an MBE, he's been dead, high, a solo artist, a Wing commander, a father, a widower, prisoner, humanitarian crusader, vegetarian, multi-instrumentalist, award winner, influence on millions, Guinness world record holder and a knight.

Above all, James Paul McCartney is without question the most successful and widely interpreted composer of his generation.

Today he becomes a septuagenarian.

He also happens to be one of my favorite musicians. Happy Birthday, Macca!

Here are a ton of Sir Paul clips. Enjoy... (cue the Theme from Mahogany)

FLY BY NIGHT

Packing more flash on stage than Neil Diamond's jacket, Rush have long been respected for their instrumental prowess. Heading toward the forty year mark as a recording unit, they will soon be unveiling a new disc called "Clockwork Angels".

What more can be said about this venerable rock trio?

Plenty

Traveling back to the summer of 1974, the group had a debut album under their belt and faced the difficult task of replacing their drummer (John Rutsey), whose health issues precluded his involvement with an upcoming US tour.

Enter Neil Peart.

Rutsey had been a fine drummer, though Peart was an explosive player with technical skills beyond those of his predecessor. He also was/is somewhat of an introverted sort, who preferred the charms of good literature over throwing himself headlong into crowds to socialize. Seizing upon the fact that they had a writer in their midst, Geddy Lee and Alex Lifeson handed off the task of creating lyrics to their new member.

Creatively, Fly By Night was an astounding leap forward for the band. With their first record, they had been merely reflecting the styles of early 70s hard rock (Led Zep), rather than charting their own course. Stylistically, residual bits from their debut are still present ("Best I Can", "In the End"), though it's no coincidence that both tunes have zero input from Peart in terms of writing credits.

"Anthem" heralds the arrival of a new attitude.

Anthem of the heart and anthem of the mind
A funeral dirge for eyes gone blind
We marvel after those who sought
The wonders of the world, wonders of the world,
Wonders of the world they wrought

Light years distant from "Hey baby, it's a quarter to eight", Peart drove home these couplets with fierce triplets, beautifully executed rolls and galloping ride cymbal work. Geddy's virtuoso bass lines followed the drummer around each hairpin turn, while Lifeson turned heads with guitar acrobatics that rivaled all of his peers. Lee's battle cry sealed the deal: this is where they truly became RUSH. Extra points awarded for the technical side of Fly by Night, as Terry Brown took great care to ensure that everything went to tape in pristine fashion. His not so secret weapons? Studer 24-track recorder + Neve mixing console. Haul out your vinyl copy and compare it to other hard rock recordings of that period: the final mix is worthy of any audiophile's wet dream.

If you do own the LP, don't stare too long into the owl's eyes or you will feel a sudden urge to start sleeping through the day...

Critically, this set hasn't received a fair shake, which is a shame, as it is certainly not a minor work. The title track still garners heavy play on classic rock radio, hanging its hat on Lifeson's rippling arpeggios. Epic piece here is "By-Tor and the Snow Dog" which would serve as a signpost of the long-form, album side-gobbling compositions lurking just around the corner. "Beneath, Between and Behind" is another stand-out, obviously a group favorite, too, as it remained a staple of their live show into the next decade. Peart takes a not so thinly veiled swipe at the culture that he viewed south of the Canadian border while touring. His scattershot wordplay is earnest as it is interesting, while the riff is taken wholly from the solo section of Zep II's "Heartbreaker". To be fair, they run it through a shifting series of time signatures with monster chops supporting the entire affair.

"Making Memories" still grabs my ear as being a one-off in the Rush discography. They never quite structured anything in this manner before or since. Very underrated early tune complete with a tasty slide solo.

Fly By Night won new converts with an infusion of experimentation, yet their collective feet were still planted in the "rock" camp. Still, it was a bold stake in the ground that would forge an entirely new identity for the musicians.

BLADE OF GRASS

Meet Blade of Grass!

Breaking through the cracks of a drab, artificial musical landscape to remind us of what is real, Blade of Grass will not be denied. Mixing acoustic based, harmony laden material with deep grooves and some reggae thrown on the canvas to brighten the sonic picture, the writing is stellar. Additional kudos to these guys for not allowing their vocal tracks to descend deep into "pitch correction software hell", never to return. The melodies are fine, decanted in the welcome environment of real human beings playing their instruments.

My personal favorite is "Who You Gonna Run To" which employs a clever turnaround, deftly picked acoustic figures and hooks galore.



Sinewy basslines and hypnotic beats compliment their compositions, though they are always deployed in service of song structure. In short, there is a lot to like here.

Who are Blade of Grass?

Measured by their talent, they should be the pride of their native Costa Mesa, California.

Check out their site and purchase their music

TENACIOUS D

The always brilliant duo return from exile with their new disc, Rize of the Fenix. Here's a taster from those dirty descendants of Simon and Garfunkel, dipped in metal. JB and KG each sport a gleam in their eye that could light the way out of the deepest mine shaft

RIP ROBIN GIBB

Another great talent has passed on too soon. Robin Gibb, 62, was an integral part of the international success of the Bee Gees, writing and performing countless hits along with brothers Maurice (who died in 2003) and Barry.

Gibb's health problems began to mount in 2010, with hospitalizations and surgery that seemed eerily reminiscent of Maurice's woes. Early this year, in London's Daily Mail, Robin confirmed he was battling colon cancer that had spread to his liver, but noted that he "mostly felt great." Emergency surgery followed, as did canceled appearances. Most telling, he missed the London premiere of his first classical work, The Titanic Requiem, commemorating the 100th anniversary of the ship disaster.

In April, he slipped into a coma after contracting pneumonia, but rallied, a development his doctor called "remarkable."

In a 2010 Q-and-A with the Guardian, Robin was asked what music he'd like to have played at his funeral.

Some Mozart, he replied, and also How Deep Is Your Love.