Friday, September 13, 2024

Weekend Listomania: Special "Solipsism is Great, Everybody Should Try It!" Edition

[I originally posted a version of this back in 2009, when I was still 5'81/2" tall (don't ask). Anyway, I've done some rewriting and added some new entries, this despite the fact that I've had a terrible week and I can barely rouse myself. Sheesh -- the things I do for you guys. Anyway, enjoy. -- S.S.]

Well, it's Friday, and we're all still losing sleep over the innocent cats and dogs Donald Trump (aka Donny Demento) has informed us are being devoured au poivre in the wilds of Ohio.

That being the case, here's a fun little project to take our minds off the looming Pet Holocaust -- to wit:

Post-Elvis Singles or Individual Album Tracks That Changed Your Life!!!

Self-explanatory, I think, so no arbitrary rules this time. Except that we're specifically talking here about ONLY singles or album cuts, NOT whole albums (a topic for another time). Also, I'm disqualifying anything by The Beatles on the grounds that there are just too damned many tunes by the Fabs to choose from and that they're a little too obvious choices in any case.

Okay, and my totally Top of My Head Top Ten, in no particular order, is...

10. The Replacements -- I Will Dare

The lead off track from Let It Be. I had never heard a note by these guys before it came out, and the only reason I bothered to listen is that a colleague wrote a rave about it in the Village Voice. Needless to say, my head exploded when I heard it. Really, I couldn't believe people were still making music like that.

9. The Rolling Stones -- It's All Over Now

The Valentinos original of this (featuring Bobby Womack) is superficially similar -- two guitars, bass and drums, and a singer up front -- but if you've ever heard it, you know that it's actually kind of jolly. The Stones rethink keeps the basic arrangement model intact, but the guitars are stripped down to ominous Travis-picking meets scrubbed metal Chuck Berry, and the whole thing is invested with a palpable sense of menace completely unprecedented in pop music at the time. Plus: the concluding fade-out, with those circular guitar riffs altered just slightly each time as the echo creeps in, marks (no doubt about it) the birth of the style and esthetic we'd later call Minimalism. Alas, in the 70s, that moron Phillip Glass went on to adopt it for four-hour operas, thus totally missing the point, but this is what it's supposed to sound like.

Bottom line: Hearing this under a pillow via transistor radio over WMCA-AM is when I decided that Andrew Oldham's liner note claim -- that the Stones weren't just a band, they were a way of life -- wasn't as asinine as it seemed at first.

8. The Byrds -- The Bells of Rhymney

As I have said here on numerous occasions, if there's a more beautiful sound in all of nature than that of a Rickenbacker 12-string guitar well played, I have yet to hear it. In any case, this song -- even more than "Mr. Tambourine Man" -- is where the Church of the Rickenbacker opened. Nearly six decades later, I'm still dropping by for services, if you'll pardon the perhaps inelegant mixed metaphor.

7. The Beach Boys -- When I Grow Up

Obviously, it's melodically gorgeous and the harmonies exquisite. But it's also the first rock song (for me anyway) that combines adolescent angst and something like mature wisdom; when people say that Brian Wilson invented the whole confessional California songwriting school that people usually associate with Joni Mitchell or Jackson Browne, this is the song they have in mind, I think. Although "In My Room" or "Don't Worry Baby" are contenders as well.

6. The Miracles -- The Tracks of My Tears

This wasn't the first r&b record I loved, but it's the first one I bought and played as obsessively as I did any Beatles 45. Everything about it just killed me; the oddly sinister yet lovely sound of the guitars at the beginning, the way the rhythm section falls effortlessly into place, the sensual longing in Smokey's voice contrasted with the almost churchy background vocals...I still can't listen to it without thinking there's some detail I've missed, one that if I could only hear at last then some tremendous secret would be revealed. I suspect I'm not the only person who feels that way, BTW.

5. Jimmy Cliff -- The Harder They Come

A great song and a great voice, to be sure, and recognizably rock-and-roll, but at the same time it was indisputably...well, something else. If Sly Stone hadn't already titled an album A Whole New Thing, the movie soundtrack this astounding song derives from could easily have copped it.

4. Bruce Springsteen -- Spirit in the Night

The first time I heard this, the snare drum and near-mythic sax wail that open it hit me so hard that I thought I'd been wacked upside the head with a 2X4. Then I noticed the lyrics and had the absolutely eerie sensation that Springsteen had been reading my mail. Want to know what it felt like to be a a 20-something with no direction home in the early 70s? All you have to do is listen....

3. R.E.M. -- Radio Free Europe

Some records just have a vibe about them. Here's one (and the same can be said of Murmur as a whole) that has it in spades, a certain indefinable something that simply grabs you (or at least me) and won't let go. First time I heard it, I remember thinking it sounded simultaneously space age modern and as old as the hills. Still an apt description, actually.

2. Tom Petty and the Heartbreakers -- King's Highway

From Into the Great Wide Open, and co-produced by Jeff Lynne, which I'd forgotten. In any event, after I first heard this I couldn't be bothered with the rest of the album, estimable as it is; I lost track of how many times I played the song. I should add that I hadn't heard it in a while, but I stumbled on the live version above last week and when Petty sang "I don't wanna end up in a room all alone/ Don't wanna end up someone that I don't even know" I just completely lost it.

And the Numero Uno mind blower, it's not even a contest, so don't give me any shit about this is ---

1. The La's -- There She Goes

Like "Tracks of My Tears" years before, when this first came out I played it over and over and over again in the hope of finally being able to hear into the sheer sonic density of it. I still do, from time to time, and to this day I haven't quite figured out what that twelve-string riff means. Or why Lee Mavers' voice sounds so simultaneously familiar and eerie. Or, finally, who she is and where the hell she's going.

Awrighty then -- what would your choices be?

And have a great weekend, everybody!!!

Thursday, September 12, 2024

Capt. Al's 21st Century (Part IV): Hey -- With a Name Like That, I Was Expecting Some Kind of Welsh Witch!!!

[As attentive readers will recall, our old friend (and more important, Friend of PowerPop©) Allan Rosenberg, aka Capt. Al, has been toiling on a series about his fave recent artists for a while now. The third installment of these musical musings -- dedicated to Lydia Loveless -- appeared here end of August. Now, as promised, here's episode le quatrième! Take it away, you old sea doggie!!! -- S.S.]

Welcome to the “Best Rock 'n' Roll Music of the 21st Century, Part 4”, by Captain Al

Let me remind both you (Simels’ wonderful readers) and myself that these columns are about what I consider my favorite new music of the still new century. Coincidentally, I just happen to think the best has been made by women. And once again I will be throwing you a curveball with today’s selection: Rhiannon Giddens.

Her music (and possibly her) personality is a study in contrasts. She studied to be an opera singer. She is part of a movement to reclaim the banjo as an African-American musical instrument, And she's also a human rights activist.

Getting right to the point -- I think Rhiannon and her music could ONLY have been created in the 21st Century, precisely because of the traditions it draws on (stretching back hundreds of years). Which is to say I feel it could not have been created before now: it needed to percolate its various influences until OUR time.

Okay, let's examine some representative work. First, here she is as roots music creator:

Now let’s check her out on the banjo:

And finally, here are some of her semi-classical/operatic excusions:

Rhiannon presents quite a past and future for music, and I find her artistry both fascinating and beautiful. I wish I had some deep background to explain what makes her so special on a musical level but alas I don’t. So all I’ll say is -- just give into her magic and follow its wonderful paths.

You're right, Capt.; She's really something. I have to admit I was only fitfully aware of her work previously, but wow.

I mean, that evocation of Edith Piaf alone is kind of a jaw dropper. And the banjo stuff really makes you know who's records -- that superstar gal whose initials are Beyoncé -- sound like the work of a dilettante.

In any case, thanks for the music, pal, and I'm looking forward to episode five!!!

Wednesday, September 11, 2024

Weeklings Rule, OK?

Sorry, I couldn't resist.

From that just-released Raspberry Park album I've been noodging you about lately, please enjoy the aforementioned Jersey guys and the niftiest cover of a Bruce Springsteen song imaginable.

Seriously -- a sorta tongue-in-cheek pop/punk version of "I'm on Fire"? What's not to like?

COMING TOMORROW: The next installment of Capt. Al's on-going series saluting pop music artists of the current century.

Hint: This one's a gal with folkie tendencies who's named after a fabulous hit song of the 70s.

Tuesday, September 10, 2024

Your Tuesday Moment of Words Fail Me

From 2024, (possibly), please enjoy The Cheatles and their quite brilliant ode to everybody's favorite pre-Russian Revolution tsarist-beloved religious nut "Rasputin."

In case you're wondering, I stumbled across this over at YouTube yesterday, and my jaw still hasn't been seperated from my apartment floor.

About the Cheatles themselves, I can find little info except that they seem to be one of the most well regarded Beatles tribute bands in the UK.

Irregardless, on the basis of the above they clearly deserve to be immortal. 😎

I'm gonna send them the link to this post; I'll let you know what if anything develops.

Monday, September 09, 2024

Album of the Year? Could Be, Could Be!!!

From their just released (and brilliantly monikered) Raspberry Park, please enjoy power pop deities The Weeklings and their quite remarkable cover of the Fabs' Sgt. Pepper highlight "She's Leaving Home."

Attentive readers will recall my posting two earlier cool tracks from the album -- specifically, a Buffalo Springfield/Stones mashup and a glorious cover of "I've Just Seen a Face" -- but the above is, I think you'll agree, equally gorgeous and perhaps even more innovative. I mean -- the utterly surprising horns and guitars notwithstanding, I can't recall another cover of the song by anybody -- save perhaps Richie Havens -- that was particularly notewothy on any level.

In any case, having just perused the entire Weeklings album, I gotta say -- it's like totally wowsville and you need to get it now.

You can stream it over at Amazon here.

Or order a physical copy, either in the esoteric (heh) CD format or, in the more prosaic (heh again) yellow vinyl medium, at the same link.

I gotta say, as you can see, the vinyl particularly appeals to me. Which is something I never would have expected. 😎

[h/t Marty Scott]

Friday, September 06, 2024

Weekend Listomania: Special "Seven Days in September" Edition

[I originally posted a version of this back in 2009 (oh god, oh god). As is my wont on these occasions, I've done some re-writing and made a few entry changes out of sheer guilt. Enjoy! -- S.S.]

Well, it's Friday, and once again I've run out of dumb topical jokes involving my Asian fille du whoopie Fah Lo Suee and the latest Republican/Trump outrage du jour.

Hey -- what can you do?

In any case, posting by moi will necessarily be sporadic for a few days.

But in my absence, here's a fun project for us all to contemplate:

Best or Worst Post-Beatles Song With Either the Word Week or a Specific Day of the Week In Its Title!!!

Self-explanatory, obviously, so no arbitrary rules. Although if you try to sneak in Loudon Wainwright's "April Fools Day Morn," or "Wild Weekend" or something similar, I will come to your house and taunt you unmercifully.

Get it? We're talking songs naming either actual days of the week or including the actual word "week."

And my Totally Top of My Head Top Ten is...

10. Tori Amos -- Wednesday

Not a particularly great song, but I've had a sneaking fondness for this woman dating back to that Crucify EP cover photo she did where she was naked except for a bunch of vegetables around her neck.

9. Elton John -- Saturday Night's Alright for Fighting

God, what a stupid song on every level. Have I mentioned I was never an Elton fan, mostly because of embarrasingly exploitive posturing drivel like this?

8. The Mamas and the Papas -- Monday, Monday

Pretty gorgeous, but mostly I'm including it as a way of repenting for the snide remarks the other day about the out of tune flute on "California Dreaming."

7. The Smithereens -- Groovy Tuesday

Originally heard on Especially For You, which remains one of the great underrated albums of the 80s. This version is a solo performance by much missed head 'Reen Pat DiNizio, from back in 2000.

6. The Velvet Underground -- Sunday Morning

Lou's big Brill Building move on the Velvets' otherwise kinda scary debut LP. Seriously -- this is so pretty, The Monkees could have covered it.

5. Kaiser Chiefs -- Saturday Night

Not a fan of the Chiefs per se, but I thought it might be appropriate to have something originally written and recorded in the current century.

4. The Beatles -- Eight Days a Week

First anthologized, in this country, on the non-canonical American LP Beatles VI. As Cameron Crowe famously said of something else, you still can't buy a better record.

3. Blondie -- Sunday Girl

You know, it's not exactly a secret that I'm a sucker for a woman in a man's dress shirt and tie, but Ms. Harry was really to die for, wasn't she?

2. Small Faces -- Lazy Sunday

One of the most evocative "knickers up at the pub" songs of 60's Brit rock. And those little psychedelic breaks in the middle, with the chimes and organ, are just exquisite.

And the Numero Uno 7 Jours Par Semaine song of them all -- c'mon for a change I'm not exaggerating here and there really can't be any doubt about this -- obviously is...

1. The Easybeats -- Friday on My Mind

Oh puhleeeze -- you knew this was gonna be the one, right? A totally great song, and the amazing thing is that it's not even the Easys' best, although that remains a fairly well-kept secret outside of Australia.

Awrighty then -- what would YOUR choices be?

And have a great weekend, everybody!!!

Thursday, September 05, 2024

Nancy's Record Collection (And Mine): An Occasional Series

To paraphrase the great Charles Pierce -- Is it a good day to post a classic track by The Smithereens?

It's ALWAYS a good day to post a classic track by The Smithereens!!!

The track in question, of course, is a fab cover of the 1965 proto-power pop masterpiece by The Beach Boys -- think Carl Wilson channeling The Beatles.

The 'Reens characteristically brilliant remake is from their first indie EP, which came out in 1980, i.e. a lifetime before they got signed by an actual national record label in 1986.

I was lucky enough to see the 'Reens do the tune live (at my then neighborhood watering hole, Kenny's Castaways in fabled Greenwich Village) on countless occasions before their commercial breakthrough. And if memory serves, I actually reviewed the EP in the Magazine Formerly Known as Stereo Review.

Ah, those were the days.

Incidentally, the above is also a clue to the theme of tomorrow's Weekend Listomania, but it's so deviously obscure there's not a snowball's chance in hell you'd be able to guess it. Consequently, consider yourselves all awarded a coveted PowerPop No-Prize© as my consolation gift. 😎

Wednesday, September 04, 2024

Your Wednesday Moment of Words Fail Me: Special "Ooh -- Nice Material" Edition

[A coveted PowerPop No-Prize© will be awarded to the first reader who identifies the source of the joke in today's title. Thank you. -- S.S.]

From 1965, it's Phil Spector(!) on The Merv Griffin Show(!!).

With guests Eartha Kitt(!!!), Wally Cox(!!!!) and a frighteningly young Richard Pryor(!!!!!) on the celebrity couch.

Okay, that is remarkable on so many levels of Sixties Time Capsule that I can't begin to enumerate them. But you'll know what I'm talking about after you see it in its 15-minute entirety.

BTW, I dug up that clip because of yesterday's discussion of an Adele record being annoyingly out of tune.

More specifically, because I seemed to recall seeing Spector on the Merv show in real time, when I was a teenager. And during which Merv specifically asked Spector what he thought about music critics saying his hit records had pitch problems.

That exchange doesn't happen in the above clip, but I'm sure I saw it somewhere/sometime, and I'll keep looking for it.

I should add that, as I recall, Spector's pissed-off reply in said clip (and I'm paraphrasing) was "Hey -- the people who play on my records are the greatest musicians in the world, and they don't play out of tune."

Yeah, right. The Wrecking Crew, obviously. Who DON'T play out of tune.

But which doesn't change the fact that, in the real world, a lot of Spector's unquestionably great records actually SOUND a little out of tune.

I mean, it's not a state secret.

FRIGHTENING TRUE POSTSCRIPT: I met Ronnie Spector at some press party in the 90s, and the next day, the guy who introduced us called me up and said "Hey -- Ronnie thought you were cute. She said you reminded her of Phil."

After watching that clip, I kinda get why.

Yipes.

Tuesday, September 03, 2024

Your Tuesday Moment of Aural Agony: Special "How Do You Say 'Pitchy' in Yiddish?" Edition

Oy gevalt.

From 2011, please enjoy endure vastly over-rated Brit chanteuse crime against nature Adele and her ear-piercingly awful "Someone Like You."

Seriously, I myself do not claim to have perfect hearing, especially at my advanced age, but Adele's vocal on that is so egregiously off-key in so many spots that when I heard it the other afternoon at my local watering hole I alternated between shaking my head in disbelief that it had ever been cleared for release and merely shrieking loudly in pain.

I never thought I'd be saying this, but -- where's that damn auto-tune when you need it?

And speaking of which, don't even get me started on Bruce Springsteen's vocal on "Going Down" or the flute solo on "California Dreamin'." 😎

Monday, September 02, 2024

Today's Cartoon Chuckle

You'll need to click to enlarge it, obviously. But it's worth the effort.

I should add that Material Girl is my favorite.😎