Well, it's Friday, and you know what that means. Yes....
Hmm.
Okay, I got nothing.
Seriously, I find the current state of the world so exhausting of late -- and you know who and what I'm talking about -- that I simply don't have the energy to craft one of my stock opening topical jokes about my Asian fille de whoopie Fah Lo Suee and I going to visit somebody or something. My apologies, but ever since Trump's fans started wearing tampons on their ears, my get up and go has just got up and went.
So let's get right to business. To wit:
...and your favorite (or least favorite) post-Elvis individual pop star or group's collective exemplar of coolness (or non-coolness), visually, is...???
No aritrary rules, but just so we're clear -- we're talking coolness. I.e. on the sartorial, conceptual and attitudinal level, although your definition may vary, obviously. But basically, the stuff that makes rock-and-roll interesting in the first place.
Okay, here's my fave (and I'm sure you won't be surprised).
I mean, they're all just too cool for school, as we used to say. But -- Chrissie Hynde? That voice. That look. Those bangs. Whew --- what ever IT is, she's got it.
Oh, and my least favorite? These assholes.
Oh right, you're so groovy dressing up like a cat. Wow. Who amongst us didn't want to grow up to be a cat? Yeah, right -- that'll get the girls.
Okay, yes, I'm exaggerating about this, but only sightly; I find the critical respect for those guys (and my old friend and colleague Doug Brod has a well-regarded book out now making the case for them as artistes) absolutely incomprehensible on every level.
I mean, if you're gonna do crap like that, at least do what GWAR did...
...i.e., the same shtick, but obviously as a goof. Because if you do it seriously, like KISS, you will look like total putzes.
From 2004, it's The Who -- well, Roger, Pete and Zak -- and their tribute to "A Real Good Looking Boy." AKA Elvis the P.
I remember being moved close to tears the first time I heard that (as a bonus new track on a then current greatest hits anthology) but it had totally dropped off my radar since what feels like forever until I stumbled across it online over the weekend. And got misty all over again.
Apart from being a really smart, well-written record, with typically cool Townshend guitar flourishes, that's gotta be one of Roger's finest vocal performances, no?
From right now, i.e. their just released album Raspberry Park (heh), please enjoy The Weeklings and their freaking amazing new re-invention of The Rolling Stones(!) and Buffalo Springfield(!!) that is "Mr. Soul Satisfaction."
Featuring lead vocals by the utterly, and surprisingly, authoritative Peter Noone(!!!).
Attentive readers will recall these guys from February of last year, when I originally posted their fab gear version of The Beatles "I've Just Seen a Face".
But this new one just blows me the fuck away. I mean, please allow me to observe that it boggles the mind nobody's thought of doing its central trick before now.
Plus -- Peter fucking Noone? When did he get to be such a thoroughly convincing punk-edged rock singer?
I mean -- wow.
In any case, you can find out more about these guys -- including where they're gigging next and how to order the aforementioned new album (on CD or vinyl) -- over at their official website HERE.
[I originally posted a version of this back in 2008, and let's not even discuss how long ago that was. As usual, I've substituted some new entries and done some general rewriting, the idea being that you won't think I'm the lazy slacker I actually am. Thank you for your kind indulgence. -- S.S.]
Well, it's Friday, and you know -- or suspect -- what that means.
Yes, my congressional-manual-catharsis-technician Lauren Boebert and I will be following the road company of the new musical version of The Left Hand of God as part of their on-going tour of manicure joints at various shopping malls in safely Red states.
As a result, posting by moi will necessarily be somewhat fitful for a few days.
But until then, as always, here's a fun project for us all to contemplate:
BEST OR WORST POST-BEATLES COMMESTIBLE-THEMED POP/ROCK SONG OR BAND NAME!!!!
That's right, songs (and band names) referencing food and drink (nutritional value not important). Sorry about the post-Beatles thing, but otherwise there would be old songs too hideous/numerous to mention (so I won't mention any).
Another totally arbitrary rule: If anybody even mentions the band Bread, swear to god I'll take a hostage.
Why?
First of all, they mostly suck. Second of all, I am convinced they were in fact named in honor of money, not the staff of life.
Okay, here's my totally top of my head Top Ten:
10. The Murmaids -- Popsicles and Icicles
And speaking of Bread, I had no idea until yesterday that this pleasantly cheesy period (1964) piece of girl group schmaltz was actually written by Bread auteur David Gates. Hey -- I still think Bread sucks.
9. The Newbeats -- Bread and Butter
Also from 1964. I always liked this song, but until I found the video on YouTube I don't think I had ever seen the guys responsible for it, who are, let's face it, three of the biggest dorks ever. Interestingly (or tragically), the blonde guy in the middle went on to co-write Bette Midler's ever irksome "Wind Beneath My Wings."
9. Squeeze -- Black Coffee in Bed
I have a tendency to forget it, but these guys are fucking gods. I mean, wow.
8. Smashing Pumpkins -- Mayonaise
Believe it or not, I went through a period where I felt obligated to mention Billy Corgan and his pathetic bald dome in every Listomania I posted. Not sure why, except I figured I needed to be au courant.
7. ZZ Top -- TV Dinners
I was always partial to the Hungry Man Fried Chicken dinner, myself. Nice mashed potatoes and a cherry cobbler.
6. The Beatles -- Savoy Truffle
Not George Harrison's best song, perhaps, but the horns are a nice touch.
5. UB40 -- Red Red Wine
From the songbook of the great Neil Diamond, of course.
4. King Curtis -- Memphis Soul Stew
From Wiki: "On Friday August 13, 1971, at the height of a New York heat wave, King Curtis was carrying an air conditioner unit into his apartment at 50 W.86th St. He found his access blocked by two men administering drugs to themselves. He asked them to move. There was a scuffle, and one of the men, later identified as Juan Montanez, stabbed King Curtis in the heart with a knife. Curtis was hurried to Roosevelt Hospital, but was dead on arrival. The funeral was held four days later. As the mourners filed in, Curtis' Kingpins played an hour long version of "Soul Serenade" and a number of musicians got up to play. Jesse Jackson preached the service, and Stevie Wonder, Aretha Franklin, Cissy Houston, Brook Benton and Duane Allman were among those attending. Aretha sang the closing spiritual, 'Never Grow Old'. The Atlantic Records office closed for the day."
3. Hot Tuna -- Hesitation Blues
One of the things I loved about these guys was that they had actually wanted to call the band Hot Shit.
2. Blondie -- Eat to the Beat
I'll grant you drummer extraordinaire Clem Burke steals this one, but my god -- will you check out the cheekbones on the singer?
And the number one song about foodstuffs, it's so yummy that it's not even a contest so why are we talking, is --
1. Led Zeppelin -- The Lemon Song
What -- you mean it's not about citrus fruit?
Awrighty then -- what or who would your choices be?
And speaking as we were last week of Bruce Springsteen gifting his songs to other artists, from 1982, please enjoy Gary U.S. Bonds and his irresistibly catchy version of Springsteen's blue collar plaint about being "Out of Work."
And by the way, I just discovered this.
Gary's 2020 home remake, taking into account the COVID crisis.
Freaking hilarious. I didn't know Gary had it in him. 😎
The man who wrote and sang one of the greatest first generation rock-and-roll songs...
...has passed.
Have I mentioned that apart from being just freaking fabulous on every musical level, "Stay" -- which runs a mere 1 minute and 36 seconds -- is also the briefest Number One hit record in pop history?
That's pretty cool, obviously, but I should also mention that I suspect (cheap shot -- Jackson Browne notwithstanding) it's all but impossible to do a bad version of the song.
Which has been covered -- often to great commercial success -- on numerous occasions.
Hello The Hollies...
...and a big Jersey "yo! dude!" to The Four Seasons.
For what it's worth, the Seasons' version is pretty much my overall fave, and apparently Williams himself was also extremely fond of it. But here's one I was previously (until yesterday) completely unaware of.
Welcome to the “Best Rock & Roll Music of the 21st Century, Part 3”, by Captain Al
If last time (Part 2) we discussed wonderful “Lunchpail Musician” Sarah Borges, this time we swim in to the other end of the same musical pool to discuss Lydia Loveless. If Sarah represented the rootsy side of the type of music I love -- music influenced by the likes of say the Rolling Stones -- Lydia comes at us with Patti Smith and Americana vibes in her musical genes (jeans). She gives off a feeling of risk-taking in both her life and in her music. And her music challenges you -- she’s a wild child and smart as all hell!
Let’s start with an example of Lydia at her edgiest/most in your face musically:
That kind of performance and song is what originally attracted me to her. She rocks, has great lyrics and an in your face attitude. Basically, Lydia has it all.
From her most recent album:
You can see how more than ten years in the rock-and-roll game has simultaneously worn her down, sharpened her edges and made her continue being her defiant self!
Finally, a song from her her great documentary Who is Lydia Loveless?. Except the video itself isn't available to embed (you can see it HERE).
In many ways, minus the heavy “cosmic poetry” I consider Lydia the 21st Century’s Patti Smith. Words, music and attitude combined into a potent rock-and-roll mix. She truly is among the best of this century.
Alas, Lydia rarely tours in the New York area but the next time she’s around here I will finally catch her in live performance.
I have to!
Meanwhile if you don’t know her music it’s time to catch up! Just like Sarah and Feist she’s the real deal -- somebody who carries the rock-and-roll tradition forward into the 21st Century.
Alrighty, Captain! And may I just say, and for the record, that unlike Sarah and Feist, who I really hadn't paid much attention to until your recent endorsement, Lydia has been a total crush of mine since I first heard this one in 2014.
I mean -- wow. She's like my favorite rock-and-roll chick since Chrissie Hynde ever. No question.
In any case, thanks for the music, pal, and I'm looking forward to episode four next week!!!
Have I mentioned that this death shit is really starting to piss me off?
I was a fan of Greg Kihn pretty much from the beginning, by which I mean upon the release of the fabulous proto-New Wave sampler Beserkley Chartbusters in 1976 (which also included The Rubinoos, and don't get me started on them).
But before Kihn had his well-deserved MTV smash hits in the 80s, like this one you may recognize...
...there was this unsung (heh) classic.
"Rendezvous" -- from his killer 1979 LP With the Naked Eye.
Bruce Springsteen gifted Kihn that song (which had, insanely, been left off of Darkness on the Edge of Town, because Jon Landau is a blithering idiot). A gesture which, among other things, speaks well for the Boss's generosity and finely-tuned ear for kindred artists -- think "Because the Night"/Patti Smith.
In any case, IMHO. that song pretty much defines what power pop is -- starting with that Byrds-ian intro riff for the ages -- and Kihn's version is transplendent. I mean, I used to force people who came to my house to undergo it. No kidding -- I would make them sit down and listen to it before serving drinks and hors d'ouevres, and if they had a problem, tough shit.
I should add that Kihn also had a seperate highly successful post rock-star career as a deejay and a horror novelist, i.e. he was your basic Renaissance dude. I hate him, obviously.
I should also add that he died of Alzheimers, and yet was younger than me. Frankly, I find that incomprehensible for a zillion reasons.
Have I mentioned that this death shit is really starting to piss me off?
Yes, my Asian manual catharsis specialist Fah Lo Suee and I will be repairing to our local Forest Hills Mattress Firm outlet, to check out a possible inauguration gift for Republican VP candidate/futon assailant J.D. Vance.
You know -- just because.
That being the case, we'll be out of touch for a few days, and here's something to occupy us all till we return.
BEST OR WORST COVER (HEH) OF A GREAT SONG ORIGINALLY WRITTEN/RECORDED IN THE '60S AND THEN REMADE AFTERWARDS!!!
No arbitrary rules, you're welcome very much.
Well, actually, I was gonna stipulate nothing originally done by The Beatles, but I thought better of it.
But just to be clear: we're talking about songs first popularized in the Sixties, i.e., in the period between the release of Alfred Hitchcock's classic horror film Pyscho in 1960 and the Stones' show-stopping performance at Altamont in 1969.
And then remodelled in the subsequent decades. Got it?
Okay -- and my totally top of my head Top Seven choices of great/not so great stuff is:
7. The Stranglers -- Walk On By (Dionne Warwick)
Let's just say lead singer Hugh Cornwell's vocals here lack the bruised romanticism of Warwick's epochal take on the song.
6. Michael Bolton -- When a Man Loves a Woman (Percy Sledge)
Yikes. I mean, I'm willing to concede that Bolton's heart was in the right place, but boy, does that suck.
5. The Jags-- Here Comes My Baby (Cat Stevens/The Tremeloes)
The Jags -- one of my favorite Brit New Wave skinny tie bands. The song itself is transplendent, of course.
4. Diesel Park West -- All Come to Meet Her Now (Skip Spence)
From that glorious 1999 tribute record in honor of the solo album by Moby Grape's tragic genius. This particular cut just kills me, but if I had more room, I would have included Robyn Hitchcock's contribution.
3. Tenacious D -- You Never Give Me Your Money (The Beatles)
I generally find these guys amusing, but this starts to get on my nerves about a minute into it.
2. The Rolling Stones -- Just My Imagination (The Temptations)
When that came out originally in 1978, Jagger gave an interview somewhere and said something to the effect that "'Imagination' sounds like a sort of average English band tuning up during a sound check." Boy. Talk about underselling yourself.
And the number one rehabilitation of one of those damned period pieces from the fuckin' Boomers' make-me-wanna-puke glory decade (I keed, I keed!) absolutely has got to be...
1. Gerry Devine -- 5D (The Byrds)
Okay, I'm prejudiced, but that's just fucking great. I mean, when Gerry told me he was gonna do a Celtic remake of the Byrds cosmic psychedelic folk-rock classic, you could have knocked me over with one of those avian flight appendages
Alrighty then -- what would YOUR choices be?
And have a great weekend, everybody!!!
POSTSCRIPT:Thoughts on the late Greg Kihn on Monday.
From just now in 2024, please enjoy wonderful be-Rickenbackered Irish pop/rocker Barry Walsh...
...and his infectiously Revolver-ish debut solo single "Rescue Me."
To paraphrase Chico Marx, that's a good one, eh boss? I mean, as its auteur says, and not immodestly in my opinion, it has "more hooks than a Fisherman's hat."
(It's also quite a wonderful palate cleaner after yesterday, and none too soon, I'd say, but of course that's a seperate issue.)
In any case, I'm informed that Barry used to be in a '90s Irish power pop band called The Fireflys, who were named after Groucho's character in Duck Soup, so I love them unreservedly. (Here's a fab video of them on Irish TV back in the day). I am also informed that the above new song was mastered at the legendary Abbey Road studio and is now available on the charmingly monikered Rufus(heh!) Records label.
You can find out lots more about Barry -- and listen to more of his music -- over at his official website HERE.
So speaking as we were on Monday of David Crosby's notorious ode to El Gibbety stuff, here's Sally Kellerman -- yes, her -- and her inexplicably lost to history 1973 cover version of Dave's "Triad." In stereo, no less.
Okay, that's amazing on so many levels I don't know how to begin.
For starters -- dig the production/arrangement credits. That would be Ron Dante (who sang lead on The Archies' "Sugar Sugar") and Barry Manilow, who...well, you know what he's notorious for.
For another thing, I had no idea Kellerman -- who I'm a huge fan of, if for no other reason than that second Star Trek pilot she was in --
-- had a music career of any sort.
But hey, Wiki informs me she actually was signed to Verve(!) Records in 1968. Who knew?
Even more astonishing by my lights, I was on the Bell Records mailing list when that single originally came out, and it is incomprehensible to me that it could have crossed my desk at Stereo Review without my noticing that a song by the Byrds was being remade. Let alone a song quite so...er, controversial.
Of course, in fairness, by 1973, that probably just seemed like the kind of sleazy swingers anthem that could have, plausibly, had some commercial success.
And I can easily imagine hearing it as background music on an underground sensation Manhattan Cable Channel J porn show like Al Goldstein's Midnight Blue...
...while Ron Jeremy and Robin Byrd...
...rolled around, sans underwear, on a badly dry-cleaned gym mat.
Welcome to the “Best Rock & Roll Music of the 21st Century, Part 2”, by Captain Al.!!!
My good musical buddy Billy Roues (‘The Roues Brothers’, ‘Finn & The Sharks’, ‘The Broadcasters’) coined a wonderful phrase for the 95% of working musicians who never rise to the top of the charts nor reach the level of success they deserve. But these musicians never give less then their best to the music they create and perform for us and of course for themselves.
Billy calls himself and all the others “LUNCHPAIL MUSICIANS”. All of us hardcore music lovers have met, seen and often befriended them. Today’s “Best Rock & Roll Music of 21st Century” is one of my favorite “LUNCHPAIL MUSICIANs” -- Sarah Borges.
Sarah surfaced with the release of her first album Silver City in 2004; in my opinion one of the best debut albums of 2005 (I know, I know -- figure it out yourselves). But, dear reader, don’t think she lucked into the release of that album, or any of her other six albums and EP. She attracts top talent to work with her, like producers Paul Q. Kolderie, Steve Berlin and Eric “Roscoe” Ambel. Ambel, besides producing her three most recent records, is currently the lead guitarist (and featured player) in her touring band.
Sarah may have not have broken through to the commercial success she deserves, but she clearly has a lot of support -- and she’s earned it. She is constantly on the road (including tours of Europe) and her live act is tops and often joyful! Now that is “LUNCHPAIL MUSICIANSHIP” of the highest level.
Here’s a few of her top songs/videos.
First, a classic from her debut album: "Daniel Lee." The video was shot at Sun Studios.
From her recent album Love’s Middle Name, the music video of “House on a Hill”
And the aforementioned current touring band featuring Eric Ambel doing "Wouldn't Know You," from her current album Together Alone.
Sarah is as solid as any rock-and-roller out on the road today. She's going to be up here in Albany in September, and I can’t wait to see her and the band -- “Lunchpail” and all!
I gotta admit, I was not all that familiar with Borges, but that stuff is primo, Captain! Thanks for the heads up, pal, and I'm looking forward to episode three next week!!!
From 1969, please enjoy Jefferson Airplane and "Triad." Written by friend of the band and Byrds auteur David Crosby.
Inspirational verse:
You want to know how it will be
Me and him or you and me?
You both stand there your long hair flowing
Eyes alive your mind still growing
Saying to me
"What can we do now that we both love you?"
I love you too
I don't really see
Why can't we go on as three?
You are afraid, embarrassed too
No one has ever said such a thing to you
Your mother's ghost stands at your shoulder
Face like ice, a little bit colder
Saying to you
"You cannot do that, it breaks all the rules
You learned in school"
I don't really see
Why can't we go on as three?
And now the actual original Byrds version, also from 1969 (but unreleased until the 80s, for obvious reasons).
Two observations.
1. Lyrics notwithstanding, that's a pretty amazing piece of music, particularly the Airplane's chiming acoustic guitars and Jack Casady's chasm-deep bass. My old college band used to jam the instrumental track to it in rehearsals, and I gotta tell you, it was one insinuatingly gorgeous sound.
2. But the lyrics? Hey, I like an overcrowded Barcalounger occasionally as much as the next perv (I keed, I keed!!!) but yipes.
I mean, sung by Grace Slick, i.e. a stylish sexy siren-esque woman, it's one thing. But by a fat balding hippie like Croz? When it's about using his pop star celebrity to get into the pants of some jailbait?
From 1973 and Journey's End, one of the great overlooked masterpiece albums of its decade, please enjoy original Procol Harum keyboard genius Matthew Fisher and his to-die for and very funny "Going for a Song."
Inspirational verse:
You can take the stained glass from my window
You can drink my whiskey and champagne
You can drive a plough across my golf course
But please don't make me sing that song again
You can put piranha in my swimming pool
Kick me and I just won't feel the pain
Scratch your name all over my Lamborghini
But just don't make me sing that song again
It's not because it's hard to reach those high notes that it makes me sad
But when I think what I used to be -- ooh
It makes me feel so bad
It's not that I dislike the words
Though I must admit there are better words around
But every time I hear that tune
It really brings me down
I don't mind you asking for my autograph
But please don't ask what happened to my friends
Please don't show me any more old photographs
And please don't make me sing that song again
Where to begin with how great that is? A hilariously sardonic lyric, an amazing vocal (Fisher has the endearingly nasal singing voice I always wished I had), and it's gloriously melodic and brilliantly arranged (those perfectly placed arpeggio guitars and the madly gorgeous keyboard work.)
Hell, the electric piano stuff alone is worth the price of admission.
And I don't know about you, but I just lose it -- by which I mean with laughter -- when he plays the organ line from "Whiter Shade of Pale."
And that leads us, inevitably, to the weekend's business. To wit:
...and your favorite (or least favorite) post-Elvis pop/rock/soul/folk/country/hip-hop song/record referencing other songs, obliquely or explicitly, in its title or lyrics is...???
No arbitrary rules blah blah.
But if you're wondering about my fave (apart from the Fisher, obviously) it's...
I actually love the Olivia Neutron Bomb Newton-John original of that, but Hatfield's relatively recent (2018) cover is pretty much my favorite female vocal of this century so far. So sue me.
Okay, this song just popped into my head unbidden yesterday.
From Brinsley Schwarz's 1970 sophomore album Despite It All, it's Nick Lowe's brilliantly soulful showcase "The Slow One."
People forget that before they transitioned into the ironic/vaguely roots-ish good time pub-rock band they are mostly remembered as, the Brinsley's were actually something verging on LA prog-rock; kind of a cross between CSNY and Yes. I actually loved their first two albums in that vein when they originally came out, although I'm definitely more of a fan of their later work.
In any case, has anybody noticed that the drop-dead gorgeous bridge to "The Slow One" is about as Procol Harum-y as you can get?
So fab guitarist and all around cool guy/ex-McCoy Rick Derringer turned 77 on Monday last.
Which suddenly brought to mind "Beat the Clock," his old band's absolutely brilliant psych/pop masterpiece from 1967. A record which should have been a much huger hit.
I think you'll agree that everything about that is great, beginning with the lyric (and no better one has ever been written about its subject, i.e. aging and the grim passage of time) and Derringer's glorious Wes Montgomery-influenced lead guitar work. Of which, BTW, nothing similar had previously been heard on Top 40 radio.
POSTSCRIPT: To my delight and surprise, I just found out that a cover of the song (by The Islanders, a band world famous in their native Finland) translated into Finnish, a language not usually associated with rock-and-roll, actually WAS a huge hit over the aforementioned new NATO member's various media, also in 1967.
Seriously -- to the point where, or so I'm told, literally everybody in that country has not only heard it but can sing along to it.
Pretty cool video, no?
I think the McCoys version still gets the nod overall, but I gotta say -- that Finnish guy has a great set of pipes.
From 1968, please enjoy(?) the mysteriously monikered Lord Sitar and the dangdest performance of a Who classic ever.
In case you're wondering -- as opposed to running from your computer screaming in horror -- Lord Sitar was the nom du disque of the late great Big Jim Sullivan, the justly celebrated British session guitarist who played memorable licks on countless (mostly English) hit records including Tom Jones' "It's Not Unusual." A very interesting guy apparently, this and another earlier all-sitar album notwithstanding.
In any case, I bring the whole sordid business up because I stumbled across the above at YouTube the other day, and I just had to share. That's the kind of guy I am. 😎
Music more appropriate to the theme of this here blog resumes on the morrow.
From 2014, please enjoy in breatheless wonder the sensitive stylings of veteran cowpunks Nashville Pussy(!) and their tenderly romantic ode to "Before the Drugs Wear Off."
I don't know about you guys, but when I heard that song I thought -- god, I wish I was still dating.
Needless to say, my reaction was -- where have those guys been all my life? And, yeah, I'll probably be spending the rest of the week researching the rest of their ouevre.
(Don't worry -- I won't flog that publically. Heh...he said flog.)
And speaking of inspirational verse -- it's gonna be hard to top this.
Well you're meaner than shit
Hotter than hell
10 months pregnant but you can't even tell
You got it all, you got it all
Let's get it on before the drugs wear off
I should also add that their most recent (2018) album is called Pleased to Eat You. As the kids say -- I'm not worthy.
What -- you mean she DIDN'T actually buy a copy of that Floor Models album?
Heh.
In any case, this leads us to the weekend's business. To wit:
...and your favorite (or least favorite) explicitly-or-implicitly politically themed post-Elvis pop/rock/soul/country/hip-hop song/record is...???
Yeah, yeah -- I know, I've posted something similar in years gone by (in 2015, actually) but I think that given the news of the last couple of weeks, you'll probably agree with me that it's newly pertinent.
In any event, no arbitrary rules; obviously there are going to be lotsa protest tunes getting the nod, but there are also scads of songs that are political in nature without being specifically about real individuals or actual events.
Oh, and in case you're wondering, here's MY all-time fave.
I mean, apart from just being a great piece of work on every musical level, that was also a Top 10 hit blasting out of radios everywhere within a couple of weeks of the outrage that inspired it.
Say what you will about CSNY, but I can't think of any artists in pop history who ever pulled off something similarly amazing.
Oy gevalt. Courtesy of a friend (with a sense of humor, obviously) here's what may be the oldest surviving example of me pontificating about pop music in a thoroughly embarrassing and uninformed manner.
The short version: Cakes and Ale was the (for want of a better word) newsletter of the English Department at my alma mater, CW Post College. My memory is unclear on this, but somehow I conned the Powers That Were into letting me write pretty much what ever I wanted to (about anything) and they would then foist it in the above form on the unsuspecting campus community.
Hey, it was a long time ago.
About the above specifically, I have little to say, although it's nice to know I was full of shit even then.
Also, I would like to believe that my reference to Dave Davies' "bitchy guitar" was some kind of bizarre typo, but who knows?
And I should also add that the appellation Lamont Pimplione(!) in the opening quote is, apparently, a joke whose point has long since escaped me.
An idiosyncratic blog dedicated to the precursors, the practioners, and the descendants of power pop.
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