At that point in time, his last outing (Gone Troppo) had clocked in at roughly 30 minutes, contained a number of excellent songs ("Wake Up My Love", "Circles") was woefully under-promoted and failed to make a dent in the charts upon release in 1982. Harrison saw little value in chasing what was trendy or even trying to compete with the disposable pop that began to dominate the airwaves as the MTV craze snowballed. Spectacle now ruled in terms of music PR, twisting a barrage of images around the collective optic nerve of television audiences 24 hours a day. Understatement in song craft and musicianship now had very little traction with the masses.
George downed tools for a few years to spend time on other pursuits, though the urge to create pulled him back to his home studio in January of 1987 to start work on what would be termed as a "comeback" record.
Not that anyone was going to forget who he was
DEVIL'S RADIO
Having gathered a group of high profile friends to contribute to this project, the end product is tightly edited, well paced and the production (handled by George and Jeff Lynne) is pristine. Vocal harmonies and hooks abound, the quality of the material is top class. Among the best of the pack are "Fish On the Sand", "This Is Love" and the in-joke filled, "When We Was Fab". There is some fantastic six string interplay between Harrison and Eric Clapton on the title track. Listening to my vinyl copy (which I snapped up way back in November of '87) while scribbling these lines, it is impressive to hear the attention to detail that went into layering guitar parts. You also get the sense that George reigned in Lynne's tendencies toward throwing a ton of augmentation into the arrangements. Similarly, the pairing with Lynne helped Harrison simplify his approach toward song structure. The overall mix is superb, still sounding fresh nearly 30 years on.
This song is just six words long
The biggest surprise of the set was the inclusion of an obscure tune by Rudy Clark ("Got My Mind Set On You") which tore up the charts as a leader single and gave the album a massive boost from a commercial standpoint. Speaking of videos, this one and the clip that accompanied "When We Was Fab" both received heavy rotation on MTV, bringing his famous face into the purview of another generation who had missed him in his first incarnation as a pop star back in the sixties.
Ringo shows up to grace the skins here, as well.
Cloud Nine arguably paved the way for the Traveling Wilburys aggregation the following year, which itself was a massive, yet unexpected, hit.
Following the release of three decent (albeit largely unnoticed) studio albums, Blue Oyster Cult decided to package their live show for direct injection into the homes of their fans in early 1975. Two black circles were duly filled with performances culled from a number of venues on their (then) most recent tour. This double live set cracked the US top 30 (topping out at # 22 on the Billboard chart) serving to bring their sound above ground, while deservedly garnering the attention of a wider audience in the commercial sweepstakes.
Hey, I heard a couple of people sayin' Hot Rails to Hell
Relentless gigging will turn any loose aggregate of musicians into a well-oiled machine. Such was the itinerary for the pride of Long Island in the early seventies. While the quintet squeeze every drop of blood from their tunes onstage, they do remember to remove their collective feet from the gas and allow for dynamic downshifts in the arrangements. "Seven Screaming Dizbusters" is one of the best examples of that, along with the moody "Then Came the Last Days of May". Crowd reaction is retained, rather than downplayed in the overall mix. Listen to the faithful as they respond rapturously after getting scorched by a particularly frenetic, extended version of "ME 262" which closes side three. People went nuts for these guys and they packed houses without the benefit of a hit single or any significant unit shifting.
Curiously, the label makers in the industry have been content to brand the output of this truly under-appreciated band as "Heavy Metal" and unfairly rank them below their contemporaries. Part of the equation comes down to a low profile in the lead vocal department. All of them could sing, though there was no Plant, Gillan, Rogers or Mercury that really stepped out front to own the stage. This is what bumps you into the economy class seats in terms of early to mid 70s purveyors of hard rock. Not quite Foghat nor were they Uriah Heep. Traces of prog flirt with "boogie" riffs, though embracing lyrical subject matter that was at times unfathomable (What the hell is "Harvester of Eyes" REALLY about??) was another obstacle to contend with in terms of gaining entry to the mass public imagination. Nevertheless, the lads did bring a not-so-secret-weapon to the party.
Donald "Buck Dharma" Roeser
Precise, fret-scorching virtuosity lifts just about every cut on this gem into the stratosphere. Why this man does not figure in the conversation when it comes to six string wizards is a puzzle. His partners in crime provide perfectly obstreperous, yet tasteful, sonic support. The Bouchard brothers keep the engine stoked while allowing Roeser and Allan Lanier to shine. Buck's solos defy gravity. "Cities on Flame" is taken at a positively caffeinated pace. All of the material found here comes off far better than the studio versions. Eric Bloom keeps all of the stories straight behind ever present shades.
These guys could really play
Pound for pound, this is the finest BOC live album. Definitely stands as one of the most exciting documents of its kind from that decade, coming across raw, sweaty and real. Some Enchanted Evening (1978) and Extraterrestrial Live (1982) have their moments, though both are uneven, without an eighth of the intensity that crackles from the speakers when this disc is cranked. While it has resided in my CD collection for many years, I have only obtained a vinyl copy very recently while rummaging through the stacks of a used record store in San Francisco. Listening in the intended format inspired this post.
Fourth time around would best describe the prep that went into getting this time capsule to its present state.
THE BACK STORY
Capitol Records' Voyle Gilmore had the first crack with his team on hand to capture the Beatles Hollywood debut on August 23, 1964. Utilizing a remote sound truck parked several blocks from the venue, they plugged directly into the stereo board at the Bowl. Primitive equipment (3 track machines) mostly picked up gale force screaming that saturated the tapes, with VU meters constantly buried in the red. This exercise was repeated a year later, though technical issues with Paul's microphone on the August 29th show rendered it useless. The set on the following night turned out to be much better and was recorded without incident. Some work was done to prepare a disc for official release at that time. Unhappy with the overall sound quality along with their collective performances, the group vetoed the plan.
Phil Spector, following his work with the output from the Get Back sessions, was asked to do a similar salvage job on these concerts in 1971. His efforts never escaped the Apple vaults.
Overwhelming odds were in favor of the project simply being left for dead.
Enter George Martin and Geoff Emerick
In early 1977, the legendary producer and engineer were tasked with delicately transferring the original masters to 16-track tape for filtering, equalization, editing and mixing. Their major obstacle was finding a 3 track machine that actually worked. With much luck they did so, though it was barely functional. Cold air had to be constantly directed on it to avoid overheating and destroying the precious tapes. Their painstaking work paid off, bringing an exciting document to the masses. All four Beatles received a copy, though only Lennon rated it as fit for public consumption. (Harrison thought that it wasn't very good) Nonetheless, it was shipped to record retailers in May of that year, sailed to number one in the UK, number two in the US and sold over a million copies.
Contrary to myth, they were a solid live act. Caught in relatively decent form here, it is to their credit that there were no major train wrecks considering that they were playing to 17,000 screamers without monitors for reference. Highlights include "She's a Woman", "Things We Said Today" and Lennon laughing in the middle of "Help!", overwhelmed by crowd reaction (or nerves) Everything is taken at a much faster tempo.
Calm down, Ringo.
Cover art features a clever mock up of concert tickets that bear no resemblance to the originals. Here's what a lucky fan would have actually presented for admittance to the 1964 show.
In 1984, the official Hollywood Bowl set went out of print. The vinyl is easily found in second hand record stores and I still have my copy from the early 80s. Bootlegs are out there, too, if you want to hear all three concerts in their entirety. Hollywood Bowl Complete is a good one. (They even got the tickets right.)
For die-hard collectors, Capitol also released "In-Store Only" 8 -track tapes with five songs from the album to record outlets. These listening post promos are now nearly impossible to find.
When the Beatles catalog was repackaged for sale in CD format in 1987, Hollywood Bowl did not make the cut. Since that time, Apple has acted as curator to the most dissected, well loved and marketable collection of music in rock history. Everything from BBC sessions to the Anthology cutting room floor material had been dusted off and dangled in front of willing consumers in the nineties. The re-mastering of their work for the digital age was another massive roll out in 2009, yet this one remained under glass in the museum.
Fast forward to 2016
Giles Martin, with the aid of 21st century advances in recording technology, picked up where his father had left off four decades earlier. Take a moment to find out how this came together.
The general consensus is that the audio update allows the listener to properly hear bass and drums in the mix. "Ticket to Ride" is a completely different aural experience here as are "She's a Woman" and "Dizzy Miss Lizzy". Overall, the track sequence is identical to the 1977 issue, with four bonus tunes that are tagged on to keep things interesting for the casual fan. Hardcore collectors will likely view this as a missed opportunity to have all three concerts out there, though technical gremlins made certain performances unsalvageable. The energy (and volume) of the crowd still resonates even though over 50 years have passed. Their reaction gives the set an electric thrill, even as they threatened to overwhelm all attempts to preserve these shows for posterity. Very worthwhile addition to your collection.
Sabbath's Volume Four turned 44 yesterday. Pictured here is my Korean issued pressing of the disc (sporting blue cover/white lettering). Great record from the "Sab Four"
Known for being deep in the pocket of universal groove, Booker T and the MGs were the legendary Stax house ensemble that powered countless hit records. They were not faceless session players, touring and releasing their own material ("Green Onions", "Time Is Tight") to great acclaim.
McLenmore Avenue is ideal for those who know the Abbey Road LP back to front and have wondered how it would sound in the very capable hands of this soulful quartet. Their interpretation is a model of taste. Jones and crew opted to rearrange the running order of some of tracks, weaving them into medleys that leave plenty of room for everyone to stretch out and display their chops. "I Want You (She's So heavy)" is a definite highlight of the pack, though their clever arrangements compel the listener to remain seated for the entire journey. It's that good.
How did I stumble across this gem?
In the early 80s, CBC Radio used the version of "Carry That Weight" found here to fill spaces before hourly news breaks. Researching the matter, I discovered who was responsible for this curious cover and eventually tracked down a copy of the disc.
The Beatles themselves contemplated going to Memphis to record in the mid-sixties, with Steve Cropper slated to produce, though the deal fell through due to the asking price for studio time. You can hear the by product of the Fabs fixation with the MGs in the "Rubber Soul" era outtake, "12 Bar Original", which basically rehashes "Green Onions" and wisely remained on the shelf until it was dusted off for the Anthology project.
Born out of a mutual admiration society, this is a classic that fans of both bands will appreciate.
On September 10th, DRLNG will be releasing a new single called Cobra, though they want you to check it out in advance.
"Cobra" casts a moody, esoteric vibe with an enchanting melody. Setting the table for more music to come in Fall 2016, the group will also be returning to live performance after a hiatus. The opportunity to recharge creative batteries has paid off. Visit their site for all the latest DRLNG news
Millions of listeners in the UK had the pleasure to hear Joseph Bridge on the BBC recently. "Phyllis the Parking Meter Lady" was featured on Gary Crowley's program alongside the work of icons such as David Bowie, The Kinks, Elvis Costello, The Clash and Oasis. Sitting comfortably in lofty company, his music continues to be played around the world. Check out my review of his self titled disc here
Little late to the party with this one, though please take time out and listen to this enchanting tune from San Francisco based duo, Sugar Ponies. Clever arrangement, delicate playing and a very fine vocal delivered by Suzanne Kramer. Her partner in this project, Michael McGovern, is responsible for the aforementioned acoustic magic. Full marks to all involved for allowing the song to take precedence and highlighting the understated power of the singer. It is a gentle message that is unencumbered by the often overused, inhuman tools of digital recording software. Very easy on the ears in every respect.
Want to learn more about the Sugar Ponies? Leave this place now to check out their site
It has been 50 years since the release of the seventh long player by the Beatles. Still in a class of its own after half a century. Turn off your mind, relax and read this review
Multi-instrumentalist, singer, writer, arranger and young boy bearing arms is now just two years shy of earning a discount on his transit pass. Geddy Lee celebrates his personal new year today. Watch this prodigiously talented, humble gent tear up his Rickenbacker in a brilliant clip from 1981.
In the spirit of celebrating those iconic musicians who are kicking off another spin around the sun in 2016, let's give a 76th birthday shout out to Ringo Starr.
He wants people to spread a simple message on his personal new year:
Peace and love to all!
Here is the title track from his second solo LP, Beaucoups of Blues, flown in all the way from 1970 to be with you today.
Blue Oyster Cult returned to sunny California to play two oceanside sets on the Santa Cruz Beach Boardwalk. This event was a milestone for my son, as it was his first concert. The weather was perfect, with a well behaved, engaged crowd ready to receive great sonic vibes from the pride of Long Island, New York. While the Bouchard brothers and Alan Lanier have long since departed, the current lineup supporting Don "Buck Dharma" Roeser and Eric Bloom are Jules Radino (drums, percussion), Richie Castellano (keyboard, rhythm guitar, backing vocals), and Kasim Sulton (bass, backing vocals). All of the new players are native New Yorkers and solidly complemented the main voices of BOC. We stayed for the first show only, which was stellar.
The focus was mainly on selections from their seventies releases, the lone exception being "Burnin' For You" which hit for them in 1981. I had hoped for "Black Blade" or "The Marshall Plan" that graced Cultosaurus Erectus, though they exhumed "ME 262" a deep track on Secret Treaties, which was an underground consolation prize. They nailed the acapella opening lines to "The Golden Age of Leather", the sound out front was pristine, with Eric Bloom giving a shout out to the assembled faithful and the "crazy motherfuckers" on the amusement park rides that loomed above. Highlights included the guys in the crowd that looked like they were on a date in 1979, the clever dude who waved a mini Godzilla at the band during "Godzilla" and the sea of cowbells that were produced by every second person on the sand a nano-second after Buck Dharma peeled off the opening riff of "(Don't Fear) the Reaper".
I would submit that you could never encounter a more cheerful reception to a song about our collective inevitablity than this...
Stretching out the visit from the tour guide to the other side with extended soloing from Roeser (who played brilliantly), they wound up with a big, stinky rock and roll finish and a promise of more excursions into the vaults during the second performance. As expected, the biggest response was reserved for this one, "Burnin' For You" and "Godzilla".
As the last note washed over the cheering throng, we gathered up our beach chairs and headed home. These guys are consummate professionals, still solid and well worth seeing if you are a fan. I was converted in the early 80s when I bought Cultosaurus Erectus on cassette. Last time that I caught them in the act was in November of 2001.
50 years ago today, The Beatles treated UK viewers by appearing on Top of the Pops to promote their latest single, "Paperback Writer" and the underrated flip side of that record, "Rain". Both songs were quite a sonic leap forward for the quartet, who had spent that spring at EMI working on the groundbreaking Revolver LP, which would hit record shops in August 1966 as they wrapped up their final tour.
Half a century on, quality is the main reason that people are still listening to these innovative recordings.
The BBC tape of the TOTP appearance has long vanished, though they sent a video clip to Ed Sullivan that aired on his weekly program at that time which you can watch here
Reaching higher with little regard for how the marketing team would be challenged in their effort to dilute the content and label it for mass consumption, Blonde on Blonde was the third in a string of very compelling LPs that cast Dylan in the role of a rock/blues performer and songwriter. His move away from the persona of "folk singer of topically driven lyrics with acoustic guitar" was a deliberate, smart way of dodging the sign that his followers attempted to hang on him in perpetuity. Bringing it all Back Home was the shot across the bow, delivering a message to his contemporaries/critics that rock, rhythm and blues had its roots in America. The British groups that had taken this music up in earnest were indeed carrying it back to the shores of the US in a slightly modified incarnation. Bob kidnapped this model, taking it home again, with the results filtered through his own howlingly free form, surrealistic lens. The game was raised on Highway 61 Revisited, capturing the man in full, snarling poetic sail.
The table was set for another grand statement, though Dylan had been seriously burning the candle at both ends. Riding a white tornado of stimulants, incessant gigging and destroying those in the press corps who dared ask ridiculous questions or set him up as spokesperson for any movement (real or imagined), he somehow found time to conjure material that would end up filling two records.
Shrink-wrapping the words, musical motifs and undiluted ideas of this fine set of songs as they were envisioned was a masterstroke. Peering out, unsmiling, inscrutable, from a blurred cover photo on the gatefold sleeve was the master of ceremonies himself. Undoubtedly, he would smirk subversively at the thought of all of the weed that would be divided up and rolled by countless listeners who used his visage as a makeshift tabletop.
Yes, but I would not feel so all alone...everybody must get stoned
It is easy to suppose that "Rainy Day Women 12 and 35" is simply an exhortation to wreath yourself and a few friends in fog of opaque smoke, occupying a room where conversation gets down to molecules, eventually working its way back to pointless laughter. Surreal sense of humour, joke trombone and a ragged party atmosphere infuse this carefully placed opener.
Was it an original statement for the time?
Not entirely
The Coasters explicitly expressed these sentiments on record in 1965, well before Bob. Ray Charles took the same tune (written by Ashford and Simpson) to number one on the R&B charts around the time that Blonde on Blonde hit the stores.
Dylan wanted the first-time listener to relax and take in a few subliminal messages as they eased into a comfortable spot to enjoy the songs that would follow.
1) Audiences were "stoning" him with a chorus of boos at all gigs after his Newport appearance in 1965 simply because he was playing with a band. Not just any band, but The Band who were then still The Hawks, minus Levon Helm who left for a bit because he couldn't stand the nightly jeering from the crowds.
2) Any free-thinker will eventually be stoned or put down by large, ugly and stupid mobs. Expect these dimwits to assemble and shout down what they don't understand with a fine mixture of ignorance and insecurity. Biblical stoning is also heavily implied.
3) Bob was really telling you much about the changes that he was undergoing. The angry, combative and sarcastic tone of his writing is almost completely missing in action here. He is plainly saying, "Don't take this too seriously, folks." Songs with a love or relationship theme are all over this set.
4)What else is going to come out of staying up all night in a deranged state? Get stoned!
With the mood set, our resident, red-eyed bard takes us on a journey that involves very little sleep, blues based romps, some R & B, pop hit singles, Tex-Mex, country-rock and his usual way with words.
Recently married and soon to become a father, there is a definite softening of the heretofore scathing, scattershot musical and lyrical destruction of faceless victims. In the place of scorched earth policy is a (slightly) muted version of the character assassin. Now using 12 bar blues with interpolations from his wheezy harmonica (or that of Charlie McCoy), he plainly asks if he can get some reciprocation for his commitment ("Pledging My Time") is chastened by the lover who freezes him out ("Temporary Like Achilles") and begs for the return of a partner ("Obviously Five Believers").
Early in the morning, early in the morning, I'm calling you to...please come home
In calling out vacuous, faddish worship of possessions over substance ("Leopard-skin Pill-box Hat") with a truly raging solo courtesy of Robbie Robertson, the author takes this one opportunity to use his caustic voice. Otherwise, Blonde on Blonde straddles the line between enigmatic verse and the aforementioned conundrum of being in love versus a truly loving partnership. There is no concept running through the grooves (Bob, feel free to correct me if you stumble upon this by accident) though the actual sound of the disc is quite uniform. Working outside of the blues motif, the "singles" take a direct approach to lust ("I Want You")and an attempt to unravel the mystery/complexity of the strong, intelligent female ("Just Like a Woman"). Flipping to a barrage of imagery, with some of his most insightful lines on display, we get the long form tracks. "Visions of Johanna", my personal favourite, is unfathomably majestic, sitting comfortably with the clever "Stuck Inside of Mobile With the Memphis Blues Again" and "Absolutely Sweet Marie". The most curious selection of the pack is "4th Time Around". Dylan had been acquainted with John Lennon since 1964, though it is this tune that rattled JL a bit when he first heard it. By admission, Lennon went through a Dylan phase after George Harrison brought "The Freewheelin'" LP into his wheelhouse. John wrote a series of Dylan-esque songs: "I'm a Loser", "You've Got to Hide Your Love Away" and "Norwegian Wood".
Was this the fourth time around?
In typical, shaggy dog tale fashion, Bob stretches out his gentle jibe toward his English contemporary well past two minutes, parodying the melody to "Norwegian Wood", taking the narrative down another road entirely.
Lots of ink has been spilled about this fine set evoking those deeply quiet spaces that occur when most people are sleeping, with all night writing and recording sessions giving birth to most of the finished product. Mistakes are left in, the bleary eyed musicians brilliantly conveying the vision of the bandleader. None so perfectly than on the closing song, "Sad Eyed Lady of the Lowlands". Nary a word nor a note is wasted in this eleven minute plus gem. Hypnotic, gentle and exploratory all at once, it builds tension with each passing verse, preparing the listener for a cathartic breakout that never happens. It could very well be his magnum opus. With that, the ride eases to a stop as the needle skids toward the runout groove, without any conclusion or neat summary offered. You can frame this work of art and drink it in any time you please. Very much in agreement with the suggestion of the "overnight feel" that Blonde on Blonde so vividly captured. This piece has been my soundtrack on overnight drives, when I needed something substantial to accompany the 100 mile stare into the lines marking the centre lane while allowing my passengers to sleep. I have played this record as a child who didn't understand it and have been fortunate to grow old enough to grasp what this gifted man was really getting at.
Mona Lisa must have had the highway blues, you can tell by the way she smiled...
Following a very successful run of LPs with his partner, Art Garfunkel, Paul Simon entered the 1970s as a solo act. His first effort in this capacity was par excellence.
"No, I would not give you false hope, on this strange and mournful day."
Stylistically, the loping, reggae inflected "Mother and Child Reunion" opens this phenomenal set with a knuckleball. Coming on like an old spiritual, without alluding to any religious theme, there is something deeply familiar in the groove. The atmosphere belongs to Kingston while the author voices the lyric in a very staid manner.
Know where the words came from on that? You never would have guessed. I was eating in a Chinese restaurant downtown. There was a dish called "Mother and Child Reunion." It's chicken and eggs. And I said, 'Oh, I love that title. I gotta use that one.' I fell into Los Incas, I loved it. It's got nothing to do with our music, but I liked it anyway. The Jamaican thing, there's nobody getting into a Jamaican thing. Jamaicans have a lot of good music, an awful lot.
Cissy Houston leads the backup singers with soulful precision.
Los Incas provides the solo breaks in the acoustic-dominated tale of "Duncan", similar to the Andean touches that they had added to "El Condor Pasa (If I Could)." World Music was not in the purview of the majority of pop artists of the period, though it works well here. Brian Jones would have been proud. There are lines that are quintessentially Simon, intoned in a way that almost seems like he's passing on a secret.
Displaying an incredible economy with words, that concision is used to great effect in "Everything Put Together Falls Apart". Clocking in just shy of two minutes, the delicacy of the playing coupled with a lilting melody belies the darker message of the downside to taking pills. This is a tune to play for songwriters that have only a nodding acquaintance with subtlety. Arrangements are uncluttered, with a deliberate attempt to shun the big production job that colored Bridge Over Troubled Water. Very little augmentation is present and the focus is, rightfully, placed on the songs themselves.
"Run That Body Down" is my personal favorite, standing out from the pack. This song builds beautifully, supported by Hal Blaine's brushed groove and airy vibes, virtually lifting off when Jerry Hahn takes his tasteful, wah-wahed solo. Hinting at domestic troubles, he name checks himself and (then) wife Peggy, though any pointed references are gracefully sidestepped, leaving the listener to speculate as to what meaning is intended.
Butchered by countless guitar players during late night sing-a-longs, "Me and Julio Down By the Schoolyard" is one that everyone knows, sounding like it is being delivered with a wink.
What was it that mama saw?
Something sexual is what I imagine, but when I say 'something', I never bothered to figure out what it was. Didn't make any difference to me. First of all, I think it's funny to sing--"Me and Julio." It's very funny to me. And when I started to sing 'Me and Julio,' I started to laugh. I like the line about the radical priest. I think that's funny to have in a song.
Simon was ahead of the curve by employing exotic instrumental flavoring (inspired work by percussionist Airto Moreira) that manages to enhance the scattershot wordplay of this memorable song.
It's carbon and monoxide, the ole Detroit perfume, that hangs on the highways in the morning and it lays you down by noon...
Delicate chord progression, harmonium pad and jaunty bass harmonica (reminicient of "The Boxer") move "Papa Hobo" along. Nice vocal texture. Close-up to the mic, with no reverb. Stomping bass drum pushing violent acoustic slide work announces the arrival of "Paranoia Blues". "Whose side are you on?" asks the author as he moves from people talking behind his back to getting the shakedown by the customs man "in that little room" to someone stealing his chow fong.
Paranoia is just a heightened state of awareness.
Isn't it?
Closing this flawless record is another sketch of a troubled relationship.
"Congratulations, seems like you done it again. I ain't had such misery, since I don't know when."
Ouch!
Ending with the question, "Can't a man and a woman live together in peace?" some beautiful electric piano by Larry Knechtel provides the soft landing. Meticulous in every way, I don't think that he has ever made a better record. Bigger commercial splashes would follow, though artistically, it was all done best here.
I viewed Simon and Garfunkel as basically a three-way partnership. Each person had a relatively equal say. So in other words, if Roy (engineer Roy Halee) and Artie said, Let's do a long ending on "The Boxer'", I said, two out of three, and did it their way. I didn't say, Hey that's my song, It wasn't until my own album that I ever started to think to myself, What do I really like?" On my own album, I learned every aspect of it has to be your own judgment. You have to say, wait a minute, is that the right tempo? Is that the right take? It's your decision. Nobody else can do it.
With so many great musicians leaving the planet of late, it is great to see one ready to make another trip around the sun. Donovan Leitch celebrates his 70th today. He is caught in the act here in his late twenties.
