And Have I Mentioned Ewwww Yuck?

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.

Boy. Have I mentioned I don't miss the '70s?

[h/t Bob in IL]

Capt. Al's 21st Century: Part II -- That's Sarah! NOT Jorge Louis, You Ignorant Slut!

[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 first installment of these musical musings, about Feist, appeared here back in July. Now, as promised, here's episode le deuxieme! Take it away, you old sea doggie!!! -- S.S.]

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!!!

Your Monday Moment of El Gibbety*: Special "Compare and Contrast" Edition

[* A coveted PowerPop No-Prize© will be awarded to the first reader who gets this joke. You're welcome. -- S.S.]

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?

Ewwww yuck.

La Fin de la Semaine Essay Question: Special "But the Melody Lingers On" Edition

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.

Alrighty then -- what would YOUR choices be?

And have a great weekend, everybody!!!

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

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?

Asking for a friend.😎

Songs I'd Forgotten Existed, Let Alone Loved: Special "Have You Ever Seen Rick Derringer and Suzi Quatro in the Same Room?" Edition

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.

Pluck That Magic Twanger, Mahatma!!!

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.

Songs for Sentimental Old Fluffs (An Occasional Series): Special "Sweet-Talking Me Again?" Edition

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.

In all seriousness, while I knew of NP by reputation, I had never heard any of their music until Friend of PowerPop© Sal Nunziato linked to the above over at his invaluable Burning Wood yesterday.

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.

La Fin de La Semaine Essay Question: Special "I Knew I Loved That Woman" Edition

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.

So -- what would YOUR choices be?

And have a great weekend, everybody!!!

Creepy Skeletons in My Closet: An Occasional Series

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.

[h/t Joan Harrison]