WHAT FRANK IS LISTENING TO

THE NEIGHBORHOODS – Reptile Men – (Emergo) – 1987

Posted on March 31, 2013 by Franko

A post powerpop band.

I’m not sure what that makes them.

Don’t say "post powerpop"

They are a 3-piece (naturally enough for a powerpop band)

The Neighborhoods were formed in 1977 and hail from Boston. Apparently, they were quite popular regionally and put out a handful of LPs which betray a Who influence. My general antipathy to the Who is well known but I can’t really hear the Who influences on this album anyway. Apparently (again – I can’t say as I havent heard any music) they started off with a punky powerpop sound before moving to a more mainstream rock n roll sound. I can’ say if that is accurate but this album certainly suggests at the very least an indie rock n roll sound. (Postscript : in hunting down youtube clips it became obvious that the band indeed have powerpop and punk origins)

Side note: Indie rock = college rock.

The music isn’t underground but it certainly isn’t mainstream.

The power pop come rock n roll sound has a meaty backbeat and there is a bit of spit in the lyrics so it would be tempting to call the music punk-fuelled garage-rock.

Tempting but not quite.

At least not on this album.

There are clear elements of the same.

What is most odd is that I cant think of too many American bands (even fewer English bands) from that era playing this sort of music.

But I’m from Australia and there were at least a couple of dozen well known (in Australia) bands playing similar music – The Screaming Tribesmen from Brisbane and The Hitmen from Sydney being the most obvious ones.

And some of them were making inroads onto US college radio.

I’m not being parochial when I say the Australian bands did it better but there seemed to be a lot more of this indie guitar rock in Australia at the time.

That is part of the trouble with this album – there is an element of deja vu. Even though it is good deja vu.

The difference is at least these guys looked indie whereas a lot of the Australian bands looked like American heavy metal poodle rockers.

Don’t get me wrong this is tightly played music but a great lost garage punk rock album it isn’t – a good solid indie rock album (with punk overtones) from the 80s it is.

I’m sorry about all the archaeological musical dialogue but I had never heard of this band prior to this album. I suspect many an American would be in the same boat, unless they lived in the Boston (or Massachusetts) area.

Like many bands from the 80s and 90s The Neighborhoods’ career has been revived by the internet and they have reformed for the odd gig. ie: they are old enough to have existed in another era but not too old to not get out and play music.

Tracks (best in italics)

Pure And Easy – a good (later) powerpop sound. That is : powerpop with some 80s concessions. Catchy and energetic this a great example of the powerpop genre as it moved into the 1980s. It sounds like a specific song I can’t put my finger on ….
Modern Cowboy – high energy with nice thumping bass and drums. Not a million miles removed from Australia’s Hoodoo Gurus
Reptile Man – a little bit of cock rock creeping here. But the cock rock is of the indie type. Think Australia’s Screaming Tribesmen without the attitude.
Tommy – duff, but pleasant and … not the Who song
Dangerous – not likely, unless you trip over a Fischer Price toy in the middle of the night.
The Man – this is more like it, Muscular rock
Peeping Tom – more muscular indie rock with some guitar wankery half way through.
Out Of Your Reach – a slight rockabilly (meets Motorhead) feel to this tune ….
Wailing Wall – blah.
Cliches – the ballad – and a convincing one.

And …

Whether it was intentional or not there are a lot of Australian influences here. There are some excellent tracks and maybe just enough to make it a keeper. It certainly is growing on me, albeit in a nostalgic way (if that makes any sense).

Chart Action

Unlikely in a world (circa 1987) dominated by George Michael

Sounds
Pure And Easy
live, recently
http://www.youtube.com/watch?v=x3Zp2_iUKSo
mp3 below

The Neighborhoods – Pure and Easy

Modern Cowboy
live, recently
http://www.youtube.com/watch?v=DM68gfhN8wA

Reptile Man
live, recently
http://www.youtube.com/watch?v=mLJ-aiY6UdA

Dangerous
live
http://www.youtube.com/watch?v=y7y0VR9uxJ8

Out Of Your Reach
live
http://www.youtube.com/watch?v=6vIGJSqPVuc

Wailing Wall
http://www.youtube.com/watch?v=olYy17cfH_g

Cliches
live 1992
http://www.youtube.com/watch?v=Kck-rMPCQWU

Others
http://www.youtube.com/watch?v=w5Mia0yvVmw
http://www.youtube.com/watch?v=kqLjLSbuPMk
http://www.youtube.com/watch?v=NDHzEqNdn38
http://www.youtube.com/watch?v=48UXJp_s1wM

doing The Who
http://www.youtube.com/watch?v=yWMjGD7LKm8

with Billy Bragg (groan)!
http://www.youtube.com/watch?v=oprfGjEgk0E

Review
—

Bio
http://www.allmusic.com/artist/The%20Neighborhoods-MN0000475935
http://tunatwo.blogspot.com.au/search/label/The%20Neighborhoods
http://thenoise-boston.com/2012/04/david-minehan/

Website
http://www.hoodsnoise.com/
http://www.myspace.com/neighborhoods

Trivia
• Lead singer, Dave Minehan, went on to play guitar for Paul Westerberg and open a recording studio (Wooly Mammoth Sound Studio)

Posted in Alternative Rock, Indie, Power Pop | Tagged 1987 | Leave a comment

THE RADIATORS – Life’s a Gamble – (EMI) – 1984

Posted on March 24, 2013 by Franko

It’s not fashionable to like The Radiators.

I’m not sure if it ever was fashionable to like The Radiators.

But they are still touring some 30 years after they began.

The Radiators are an Australian icon. I hesitate saying “The Rads are an Aussie icon” for fear of sounding to parochial.

Formed in the late 1970s the Radiators were around in the heyday of Australian pub rock.

Wikipedia: “The Radiators were formed in Western Sydney in September 1978 as a pub rock band with Brendan Callinan on keyboards and vocals, Brian Nichol on lead vocals and guitar, Stephen "Fess" Parker on lead guitar, Chris Tagg on drums and Geoff Turner on bass guitar. Nichol and Parker grew up in Bega where they attended the local high school. They formed a local group, Undecided, and in 1969 they relocated to Sydney. Callinan, Nichol, Parker and Tagg were all ex-members of hard rockers, Big Swifty which had formed in 1975. Turner had been in Twister which had issued two singles in 1977 prior to disbanding. The Radiators signed with WEA Records and issued their debut single, "Comin’ Home" in September 1979. It peaked at No. 33 on the Australian Kent Music Report Singles Chart. A second single, "Gimme Head", appeared in February 1980. In March 1980 the group released their first album, Feel the Heat, which was produced by Charles Fisher (Radio Birdman, Ol’ 55). They supported the Australian leg of a tour by United Kingdom rock group, The Police”.

Unlike their pub rock contemporaries The Radiators didn’t envelop themselves in hard rock sounds but rather in the power pop sounds emerging at around the same time.

The pub rock and power pop genres seemed to attract quite a few kids from working class families. Perhaps that is a generalisation but it seems to be one with an element of truth. The Radiators, in that respect, were no different with members drawn from rural NSW, the western suburbs of Sydney as well as Ipswich in Queensland.

Their lyrical concerns were the same as those of others in the genre, regardless of country: girls, getting laid, infidelity, breaking up, girls, getting laid, infidelity, breaking up, girls, getting laid, infidelity, breaking up, girls, getting laid, infidelity, breaking up.

The Radiators though, by virtue of being Australian, had to be coarse, of course.

Where else could you release a single in the mainstream like “Gimme Head” ?

I knew all the words to that song as a teen. I still didn’t get any action though. To woo a girl I can guarantee you the best approach is not to walk up to them and say “gimme head”. Even altering the pitch of your voice to make the words more delicate, gentler and even dreamy doesn’t work. Clearly, girls don’t appreciate the type of romance (successfully, apparently) espoused by The Radiators.

Perhaps it’s these straight forward unambiguous lyrics coupled with straight ahead rock n roll that didn’t make them favourites with the tastemakers.

They were favourites with the punters though who made some of their albums go Australian Gold and Platinum.

And like many things of this ilk, whether the punters knew it or not, there is more than meets the eye. The lyrical obvious girl / boy concerns were underpinned with some genuine biting cynicism and some caustic observations on Australian culture.

The great Australian 70s band Skyhooks, who are not dissimilar, made an art out of the same. The Radiators didn’t have the same ambition but, nevertheless, snuck in their cynicism disguised as humour, and created quite a few winning tunes.

Those first three albums and one mini LP (“You Have the Right to Remain Silent” – every kid, including this one, had a copy of that mini LP) hold a multitude of minor treasures.

This is their fourth album.

What the fuck happened?

The Radiators have changed their sound and gone a little new wave. Hey, I like it when bands shake it up and try something different but here the new clothes just don’t fit.

The lyrics are still sharp and have something to say but the rock punch is gone replaced by a new wave drone. Fuck, there are even Byrds like harmonies and Celtic sounds, which I have nothing against, but this is the Radiators! These sounds don’t fit any more than if Chuck Berry was in “Flock of Seagulls”

The Radiators must have felt they needed to go somewhere but this attempt at “sophistication” is like bringing a flagon of wine to a champagne party.

They may have felt limited before but at least it worked.

Maybe they were looking to expand their audience?

What a misstep.

I’m not sure how their follow albums turned out as they rarely charted but I have a few in the pile behind me which I have yet to listen to, so … beware.

Tracks (best in italics)

Life’s A Gamble – For a title track the song is quite subdued and un-Radiators like. Well up till that point. It is nicely melodic though. The title says it all …..quite catchy.
I’d Die For You – if this was recorded by and English band it would be a new wave ballad. .
Suddenly We’re Strangers – another new wave styled number ….undistinguished.
Getting Away From It All – lame.
A Bit Of Pain Never Hurts – a Celtic feel without any Celtic sound on this one.
Let’s Do It Again – please, don’t. This is not unlike the harder, louder songs The Kinks were doing at the same time. And it wasn’t good for them either.
Hollywood (The Love You Steal) -duff
Night Slave -slow, supposedly intense and brooding
Scratch It Off – dear lord
Scream Of The Real -silly but catchy.
Rock And Roll Carnivore -hmmmmm. Dodgy.

And …

I love The Radiators so for the sake of the collection…. I’m keeping it.

Chart Action

Australia
Singles

1985 Life’s A Gamble #47

Album

1984 Top 100 #47

Sounds

Life’s A Gamble
video clip
http://www.youtube.com/watch?v=x4qtAxbuDxI
and MP3 attached

Radiators – Life’s a Gamble

A Bit Of Pain Never Hurts
video clip
http://www.youtube.com/watch?v=lEUJQJMjMh0

Others
a bunch of 50 something year olds singing "Gimme Head".
http://www.youtube.com/watch?v=mMM77ldrfV4

http://www.youtube.com/watch?v=GarvTZiESLU

Review
—

Bio
http://en.wikipedia.org/wiki/The_Radiators_(Australian_band)

Website
http://www.theradiators.com/index.php
http://www.myspace.com/theradiatorsau

Trivia

– I finally got to see them in 2011 at the Caxton Street Seafood Festival in Paddington, Brisbane, of all places. They were old. But they certainly weren’t tired.

Posted in Australian Artists, Power Pop, Pub Rock, Punk and New Wave | Tagged 1984 | Leave a comment

JIM POST – Colorado Exile – (Fantasy) – 1974

Posted on March 17, 2013 by Franko

I know at least one friend, actually only one, who would salivate over the sleeve of this record.

A man, a backpack, and a mountain.

I’m sure, on the sleeve alone, he would have plonked down $1, as I did, for this LP.

Have you ever thought how a record sleeve can sell what’s inside?

You would never think this a Motorhead LP sleeve, if you know what I mean.

Accordingly I assumed the music would be rustic and country-ish.

And it is.

Bingo.

But sometimes there is diamond and sometimes there is rust.

Jim Post was apparently a folkie though this album has more in common with the rustic country singer songwriter movement of the early 70s

Post (born October 28, 1939 in Houston, Texas but lives in Galena, Illinois) can trace his musical career back to the mid 60s. He joined a folk pop band The Rum Runners before moving into pop rock. In 1968, with his wife Cathy, under the band name of "Friend and Lover", he had a Top 10 hit in the US when his pop song "Reach out of the Darkness" charted on the Billboard Hot 100 for 14 weeks, peaking at number 10.having a top 10 hit with.

He also a playwright and actor and has made a career out of playing a singing, musical Mark Twain.

The singer songwriter genre I can listen to a lot – but there is a breaking point. The point is reached when the sounds or lyrics aren’t just going anywhere new or interesting.

And, I fear, that is the problem here. Lyrically the songs aren’t adventurous. The theme about escaping from contemporary chaos and the rat race (hence the cover) is compelling enough but there are no new twists or insight. I’m not sure if it is the songs (all written by Post) bu themselves, or the delivery, which doesn’t help. I say that because Post sings in a high voice which is both interesting and humorous, at times. I ‘m not convinced that Post’s voice is right for this material (I’m being polite).

This is a pity as there are some half decent songs here and there are fragments of a good album though Post seems to be following and hopping onto (in obvious ways) other (then popular) styles and singers. Think John Denver …but not at his peak.

Tracks (best in italics)

Look over Yonder – a good up-tempo number.
Once You Were a Rock – suitably pretentious and solemn.
Ride, Rita, Ride – a song about losing one’s innocence to an older(?) woman. I assume her name is Rita and I assume she likes to, err ride? Fark me, where were all these older women, when I was younger?
High up on the Ridge – Musically this is not too bad and it has to be one of the best songs about a father’s incestuous relationship with his daughter which is ruined when she runs off with a neighbour. Oh, she also takes her son, err brother with her. I bet you can’t find any better songs on the same subject matter. Full points for originality but the lack of condemnation (on the father daughter relationship) makes me uneasy.
Colorado Exile – a song about escaping from contemporary living and retreating to the country and solitude. Well if Bon Iver can do it why cant Jim Post? A good song – with suitably dramatic viola and cello.
Turn Around (Bambu Lou) – silly, with a purposeless tempo shift half way through
Louella Rainwater – slight but I love cello and violas.
Simple Life- a attempt at John Denver’s themes. Comes out as just corny.
Dancing in the Wind – Here Jim is trying to do Pete Seeger and traditional mountain folk ….duff
I Love You – simple enough
One More Day – another ode to Colorado.

And …

It’s not bad but it’s not that good. Tape a couple and sell.

Chart Action

zip

Sounds

Look over Yonder
http://www.youtube.com/watch?v=KMnjWPjxpas

Colorado Exile
mp3 attached

Jim Post – Colorado Exile

Others
http://www.youtube.com/watch?v=J6VZ-uTVlwY
http://www.youtube.com/watch?v=ABxAXK4aEos

Review
http://driftwoodsingers.blogspot.com.au/2008/03/my-jim-post-post.html

Bio
http://en.wikipedia.org/wiki/Jim_Post
http://en.wikipedia.org/wiki/Friend_and_Lover

Website
http://www.jimpost.com/

Trivia
—

Posted in Country Rock, Singer Songwriter | Tagged 1974 | Leave a comment

TOMMY JAMES – My Head, My Bed & My Red Guitar – (Roulette) – 1971

Posted on March 10, 2013 by Franko

Tommy James created some of the best pop of the mid to late 60s with his band Tommy James and the Shondells

Allmusic: Tommy James & the Shondells — the very mention of their name, even to someone who doesn’t really know their music, evokes images of dances and the kind of fun that rock & roll represented before it redefined itself on more serious terms. And between 1966 and 1969, the group enjoyed 14 Top 40 hits, most of which remain among the most eminently listenable (if not always respected) examples of pop/rock.

It’s amazing to think that the band wrote many, not all, of their songs and they were all in their teens.

Not big feet you say?

Sure, but tin this case the pop songs were good.

Wikipedia: Tommy James was born Thomas Jackson on April 20, 1947, in Dayton, OH. He was introduced to music at age three, when he was given a ukulele by his grandfather. He was an attractive child and was working as a model at age four, which gave him something of a taste for performing. By age nine, he’d moved to the next step in music, taking up the guitar, and by 1958, when he was 11, James began playing the electric guitar. In 1960, with his family now living in Niles, MI, 13-year-old James and a group of four friends from junior high school — Larry Coverdale on guitar, Larry Wright on bass, Craig Villeneuve on piano, and Jim Payne on drums — got together to play dances and parties. This was the original lineup of the Shondells ….

The band hit it big in Pittsburgh, moved there and never looked back. They had two No. 1 singles in the U.S. — "Hanky Panky" (1966) and "Crimson and Clover" (1968) — and also charted twelve other Top 40 hits, including five in the top ten: "I Think We’re Alone Now", "Mirage", "Mony Mony", "Sweet Cherry Wine", and "Crystal Blue Persuasion".

They were very (very) popular.

When Tommy decided to branch out solo he was 23. He had a hit almost immediately with "Draggin’ the Line" (#4 in 1971) but failed to build on that.

Tommy James and the Shondells were always perceived as a singles band and never really had much album success. Only one of their early eight or so albums cracked the Top 10. This lack of album success was to plague Tommy James as a solo artist also.

Which is a pity because, after the creation of rock journalism, you had to have commercial chart success with albums to be taken seriously. The joy for us is that because James’ albums sold so poorly, they are less known and become little undiscovered treasures.

Tommy was only 23 or 24 when he cut this album.

And, he had balls – signing on the cream of Nashville to play with him:

Electric Guitars: Tommy James, Scotty Moore (yes, Elvis’ guitarist) , Dave Kirby
Pedal Steel Guitar: Pete Drake
Acoustic Guitars: Ray Edenton, Dale Sellers, Linda Hargrove, Tommy James
Keyboards: Pig Robbins, George Richey
Bass: Bob King
Fiddle: Buddy Spicher
Harmonica: Charlie McCoy
Drums & Percussion: DJ Fontana, Buddy Harmon, Russ Leslie
Background Vocals: The Nashville Edition

I would like to hear Tommy singing country but that’s not the case here. Tommy takes the country sounds, "urbanises" them and attached them to his trademark pop. He isn’t flip flopping between genres but rather taking what he likes from the sound for himself. Country fans, and country rock fans may be disappointed but people who like their pop a little "out there" will be impressed.

Does it work?

Not always but there is genius in the trying.

Around this time, or a couple of years later, Elton John stuck his toe into the country rock ‘n’ pop puddle and struck gold. Tommy (who musically isn’t dissimilar to Elton) could have been as big as Elton if he was as consistent and if he didn’t take as many chances.

A pity perhaps, especially for Tommy’s hip pocket.

Tracks (best in italics)

Nothing to Hide -(Tommy James / Bob King) – country soul gospel – a touch of Melanie. Pure beautiful pop. Spiritual even. The white southern soul singers had done this sound already but this is no less persuasive.
Tell ‘Em Willie Boy’s a’ Comin’-(Tommy James / Bob King)- This has nothing to do with the movie of the same title I believe(?). Some nice guitar sounds add zing to the otherwise formal song structure.
White Horses-(Tommy James / Bob King) – This is what the Rolling Stones would have sounded like if they were more pop and less country blues around this time. Crisp and clear and radio friendly but evocative.
The Last One to Know-(Tommy James / Bob King)- hmmm filler? The type of MOR hyper emotive country Elvis would have nailed. Despite being written by Tommy it doesn’t really suit him as much.
Rosalee – (Linda Hargrove)- This is originally by the influential (but poorly selling) country singer songwriter Hargrove but is standard singer songwriter stuff. She also played on these sessions.
Paper Flowers-(Ritchie Cordell / Joey Dee / Tommy James)- slight pschedelica in a country mode. Cool.
Walk a Country Mile-(Tommy James / Bob King)- a straight country thumper.
Who’s Gonna Cry-(Tommy James / Bob King)- MOR singer songwriter country which is emotive and beautifully realised but, incredibly, errrr MOR.
Forty Days and Forty Nights-(Tommy James / Bob King)- Pleasant but it doesn’t really go anywhere.
Kingston Highway-(Tommy James / Bob King / Morris Levy)-a big, dramatic ballad
I Live to Love a Woman-(Tommy James / Bob King)-a straight country rock stomper, not that dissimilar to what Jerry Lee Lewis was doing. In fact it bares a resemblance to "Hi Heel Sneakers".
Fortunada-(Tommy James / Bob King / Arnie Silver)-straight pop with country overtones.
Dark Is the Night-(Tommy James / Bob King)- pure pop but very catchy.

And …

Not a total success but there are some magnificent moments and enough other interesting things going on to make it worthwhile. A definite curio…. I’m keeping it.

And what a great album title, whatever it means.

Chart Action

US
Singles
1972 Tell ‘Em Willie Boy ‘S A’Comin’ The Billboard Hot 10 0#89
1971 Nothing To Hide The Billboard Hot 100 #41

Album
—

England
Singles
Album
—

Sounds
Nothing to Hide
http://www.youtube.com/watch?v=b89LbxY7G3k

mp3 attached below:

Tommy James – Nothing to Hide

Tell ‘Em Willie Boy’s a’ Comin’ –
http://www.youtube.com/watch?v=b89LbxY7G3k

White Horses
http://www.youtube.com/watch?v=4X1rl-eWw_c

The Last one to Know
http://www.youtube.com/watch?v=0dpo8nRcRzU

Rosalee
http://www.youtube.com/watch?v=6LE2civK4z4

Paper Flowers
http://www.youtube.com/watch?v=kH-1ViS-cMw

Walk a Country Mile
http://www.youtube.com/watch?v=VD0VyLSjcvU

Who’s Gonna Cry
http://www.youtube.com/watch?v=TZSriqzkxjs

Forty Days and Forty Nights
http://www.youtube.com/watch?v=984ZIzDtECQ

Kingston Highway
http://www.youtube.com/watch?v=DiuxicRyQK0

I Live to Love a Woman
http://www.youtube.com/watch?v=suy4_20O5X8

Fortunada
http://www.youtube.com/watch?v=QXJrzd2wNwY

Dark Is the Night
http://www.youtube.com/watch?v=wS8A90-bJLo

Others
http://www.youtube.com/watch?v=BbsoeoGv-_U
http://www.youtube.com/watch?v=TTS059Bybkk
http://www.youtube.com/watch?v=wIeRqPFJvXM
http://www.youtube.com/watch?v=Cz8BCLNHREI

Review
http://www.allmusic.com/album/my-head-my-bed-amp-my-red-guitar-mw0000870144
http://www.redtelephone66.com/2011/09/tommy-james-my-head-my-bed-my-guitar-1972/

Bio
http://www.allmusic.com/artist/tommy-james-the-shondells-mn0000620386
http://en.wikipedia.org/wiki/Tommy_James
http://en.wikipedia.org/wiki/Tommy_James_and_the_Shondells
http://www.allmusic.com/artist/tommy-james-the-shondells-mn0000520975

Website
https://www.tommyjames.com/

Trivia

In February 2010, he published an autobiography "Me, The Mob, and The Music" about his time with Roulette Records which he suggests was a mob front. Wikipedia: James estimates the company owed him $30–40 million in royalties he never received. Roulette was a front for organized crime, also functioning as a money laundering operation. In the early 1970s, Levy was at the wrong end of a mob war. James had to leave New York for a while to avoid a mob hit, which explained why he recorded an album in Nashville in 1972.

Posted in Pop Rock, Rock & Pop | Tagged 1971 | Leave a comment

MELANIE – Arabesque – (Blanche Records) – 1982

Posted on March 3, 2013 by Franko

Fuck I loved Melanie when I was younger.

Well actually I loved two albums: “Candles in the Rain” from 1970 and “Gather Me” from 1971

They were the albums that seemed to always be in op-shops in the 80s.

And why wouldn’t they be given the albums sold well in Australia …they actually charted better in Australia that they did in the US or England.

"Candles in the Rain", 1970 (US #17, UK #5, Australia #2)
"Gather Me", 1971 (US #15 , UK #14, Australia #9)

10 years.

10 years between being a new Top 10 purchase and the record box at the local charity shop. People (well, at least casual listeners) are so fickle.

Still, their loss is my gain.

Despite the minimal monetary outlay my love of the music revolved around the cute, teen girl’s voice Melanie sang in. She was in her early to mid 20s but she pitched her voice in a disarming and occasionally fragile way which to my teenage ears was innocently erotic, if there is such a thing.

It didn’t hurt that she dressed, at least on those album sleeves, like a section of bohemian indie chicks I used to hang out with in the mid to late 80s…or rather they dressed like her.

Melanie was well popular in that scene and I suspect that her voice and music seeped into the subconscious. It can’t be coincidence that every other female indie singer songwriter of the 90s and 00s seemed to sound like her. The cutesy teenage girls voice which could become deeply emotive had become de rigueur amongst female indie singer songwriters.

I eventually found other subsequent Melanie albums and realised that everyone had to change with the times. Melanie would abandon her hippie princess trappings and become more MOR and AOR.

Melanie was born Melanie Anne Safka (on February 3, 1947) to a father of Russian-Ukrainian ancestry and a mother of Italian ancestry. She grew up in the Astoria neighbourhood of Queens, New York City, New York. She began singing in the folk clubs of Greenwich Village, was signed and played Woodstock before hitting it big.

This album comes from hat later period where Melanie is trying to find a audience that has grown up.

Not surprisingly (given the 1983 date) the album has it’s fair share of soft rock and slick arrangements. Perhaps we assume that Melanie should be a bit more "rustic". Accordingly, it’s bagged but if you listen closely there is a lot more going on.

Melanie’s self written tunes are solid and the covers are well chosen. She is in good voice and avoids overwrought emotions (sure there are vocal theatrics and big choruses but it is all palatable).

It would be easy to say to write it off because it didn’t sell and dint get must attention or reviews. But this is precisely what I like because it destroys my preconceptions.

Tracks (best in italics)

Detroit or Buffalo – (Barbara Keith)- there are some soft rock excesses but this is otherwise a great song (for what it is) with a great vocal performance by Melanie. Barbara Keith released it on her album from 1972.
It Don’t Matter Now – (Michael McDonald) – McDonald, who sang with The Doobie Brothers in the mid to late 70s wrote this gentle, bouncy statement.
Any Way That You Want Me– (Chip Taylor)- Chip Taylor is no slouch when it come to writing ( search him on this blog). This is a dramatic ballad – and quite good though some of the production is a bit sticky. It’s very Chip and a bit like "Mary in the Morning" which he also wrote.
Roadburn -(Melanie)- a good up-tempo number but not as good as the last three covers
Fooling Yourself-(Liberty DeVito)- pleasant.
Too Late-(Melanie)- a good, slow southern soul type of number
Standing on the Other Side of Your Love -(Melanie)- she’s entering Marianne Faithfull new wave territory with some attitude and nice angular guitar.
Love You to Loath Me-(Melanie)- pretty good, like an updated Billie Holiday
Dead and Gone-(Melanie)- despite the crappy reggae beat this song taps into the Melanie of the late 60s.
Imaginary Heroes-(Cathy Evans)- OK the piano is a little predictable but, lyrically and vocally, this song is devastatingly emotional in it’s story of a child escaping with imaginary heroes from the physical and emotional abuse he is suffering. Sad and scary and incredibly moving.

Jimmy was ten when they found him in bed
Unexplained bruises and words unsaid
The clock on the wall was still counting the time
But that’s all it did when Jimmy was nine
…

Imaginary heroes they played upon his bed
He said "Superman will save me when he gets in red
He’ll take me to a paradise I dream of far away"
But then superman when off the air
And the dream slipped away

Chances -(Graham Russell)- an Air Supply song and, not surprisingly a big dramatic ballad

And …

I was expecting a lot worse but this is a real surprise. A keeper.

Chart Action

nothing

Sounds
Detroit or Buffalo
attached below

Melanie – Detroit or Buffalo

Any Way That You Want Me
http://www.youtube.com/watch?v=OYB1Qrnn07s

Fooling Yourself
live clip
http://www.youtube.com/watch?v=7bo8ouEDfZM

Others
http://www.youtube.com/watch?v=ZIFknAdVvNM
http://www.youtube.com/watch?v=q-sk9abOYQ4
http://www.youtube.com/watch?v=Cqg3kcwAgso
http://www.youtube.com/watch?v=JeHtuwsUeRw

Review
http://dkandroughmix-forgottensongs.blogspot.com.au/2010/01/melanie-arabesque-1982.html
http://www.allmusic.com/album/arabesque-mw0000837660

Bio
http://en.wikipedia.org/wiki/Melanie_Safka
http://www.allmusic.com/artist/melanie-mn0000409670

Website
http://www.melaniesafka.com/home.cfm
http://www.patswayne.com/melanie/melanie.htm

Trivia
—

Posted in Singer Songwriter | Tagged 1982 | Leave a comment

CHRIS HILLMAN – Slippin’ Away – (Asylum) – 1976

Posted on February 24, 2013 by Franko

On a comment I did about Hillman’s "Clear Sailing" album from 1977 I said this by way of background, "Anyone even remotely interested in country rock knows Chris Hillman. His PR is not as successful as many others in the genre but he was a key player in country rock and the west coast sound. He was in many groups including: The Scottsville Squirrel Barkers, The Hillmen, The Byrds, The Flying Burrito Bros, Manassas, The Souther-Hillman-Furay Band, McGuinn Clark & Hillman, Ever Call Ready, Desert Rose Band, Rice Rice Hillman & Pedersen and Chris Hillman & Herb Pedersen’.

Refer to that comment for more biographical detail.

The "Clear Sailing" album immediately followed this album and the criticisms of that album apply to this one, only less so, probably because this album came earlier ….I said, "it is also true that as the 70s progressed "country rock" grew increasingly slick and dull, despite or because of its popularity. The rough regional accents were ironed out, lyrics were toned down, authentic country instruments were replaced with standard rock ones or worse, were played to fit into a MOR sound and most unfavourably of all the elation and emotion in the best of country was replace by a cool, stoned detachment. It reached its peak with the amazingly facile Eagles who despite their limitations managed a handful of good tracks … Of course there is room for this smooth country rock but with a few exceptions it doesn’t date particularly well and isn’t all that memorable, though some idiots will champion it”.

This album has some standout tracks but the concessions to country flavoured MOR was already in place. The pull for commercial acceptance is strong and understandable. You can’t make a living if you aren’t selling out concerts and you aren’t selling out concerts if you aren’t selling records.

So, as I said in relation to "Clear Sailing", "this album unfortunately is very much of its time …a late 70s country rock album with all the limitations described above…. It’s a slippery slope from country rock to soft rock with country overtones ….."

There is some happiness in the fact that Hillman is such a fine writer than he makes even the MOR songs quite pleasurable but the real joy comes from the tracks where Hillman just does what he wants to do. There he creates magic.

Tracks (best in italics)

Step on Out – (Chris Hillman, Peter Knobler) -very mid 70s country rock with some Paul Simon overtones. There is no urban decay, pollution, stagflation, recession …..very bouncy but hatched in a vacuum
Slippin’ Away – (Chris Hillman) – sonding like a smooth and slick Jim Croce. Not too bad but not especially memorable.
Falling Again– (Chris Hillman , Bob McDill)-a nice country rock stroll.
Take It on the Run- (Chris Hillman)- a bit harder and reminiscent of Crazy Horse
Blue Morning- (Chris Hillman)-a slow one. Better than The Eagles.
Witching Hour-(Stephen Stills) – a song originally done by the country rock supergroup Manassas (which Hillman was a member of) though the song was unreleased until 2009. This isn’t too bad though the Manassas original is better.
Down in the Churchyard-(Chris Hillman, Gram Parsons)- what seems “so so” at first actually weaves some magic. This has a slight reggae / Jamaica beat. Very catchy. This is a re-recording – originally it was done by Chris’ other band, The Flying Burrito Bros, on their second album "Burrito Deluxe" in 1970.
Love Is the Sweetest Amnesty-(Danny Douma)- catchy but sounds like too many other songs
Midnight Again– (Chris Hillman)- a bouncy stroll with a hint of Bakersfield.
(Take Me in Your) Lifeboat-(Chris Hillman)- an ol’ fashioned hoedown and the best song on the album. I’m not sure why he didn’t do an album of this type of music (at this time – he did later)

And …

Not perfect but good enough …. I’m keeping it.

Chart Action

US
Singles
—

Album
1976 Slippin’ Away The Billboard 200 #152

England
Singles
—
Album
—

Sounds
Step on Out
http://www.youtube.com/watch?v=AHlPCk8OT-E

Love Is the Sweetest Amnesty
http://www.youtube.com/watch?v=aaLWFv8amdk

Midnight Again
http://www.youtube.com/watch?v=LVvjiJtwlII

(Take Me in Your) Lifeboat
live
http://www.youtube.com/watch?v=VMRytcA0Of0
attached

Chris Hillman – (Take me in Your) Lifeboat

Others
http://www.youtube.com/watch?v=wnG_e1s8HYA
http://www.youtube.com/watch?v=Hm2IcdSIhZI
http://www.youtube.com/watch?v=iUT4QpHcWGI

Review
http://www.allmusic.com/album/slippin-away-mw0000203793

Bio
http://www.allmusic.com/artist/chris-hillman-p1650/biography
http://en.wikipedia.org/wiki/Chris_Hillman

Website
http://www.chrishillman.com/artist.html
http://www.bluedesert.dk/chrishillman.html

Trivia

– Musicans include Lee Sklar, Jim Fielder, Donald “Duck” Dunn, Russ Kunkel, Jim Gordon, Steve Cropper, Herb Pedersen, Bernie Leadon,Flo and Eddie

Posted in Country Rock | Tagged 1976 | Leave a comment

BOBBY GOLDSBORO – Summer [The First Time] – (United Artists) – 1973

Posted on February 17, 2013 by Franko

If you walk into a op shop you are bound to find a Bobby Goldsboro album.

Check my other comments on Goldsboro for biographical detail and the usual observation that if you “Walk into a op shop and you are bound to find a Bobby Goldsboro album”

What Bobby is wearing is almost as interesting as what he is singing.

Actually that was nasty because Goldsboro is a good singer with a gentle country funk in his sound. The trouble, always, is that he leans towards some awfully schmaltzy MOR tunes.

It’s always assumed, because his music is so radio friendly (in its day) and so indistinct that Bobby just flowed with the times doing covers. As this album, and many others, will attest Bobby wrote quite a few tunes and had a style and sound which was his own.

Clearly, he is no slacker and quite clearly knew what he was doing. He is also quite savvy and has a fair amount of taste musically.

I think I have said all this in other comments but this music is never going to set the world on fire but this is perfectly pleasant pop, well produced and well sung which would be perfect at a coffee shop or on a lazy laid back Sunday in the summer shade. That sounds awful but it’s not. Imagine trying to relax with a coffee and Pearl Jam are pumping out of the speakers.

Barf.

And, he does wear nice threads.

Tracks (best in italics)

Summer (The First Time) – (Bobby Goldsboro) – every boys fantasy. A 17 year old shags a 31 year old. But why on the beach? All that sand. Some risible lyrics but catchy….

She through back her hair,
Like I wasn’t there,
And she sipped on a julep,
Her shoulders were bare,
And I tried not to stare,
When I looked at her two lips.

and then:

And then she smiled and we talked for a while,
And we walked for a mile to the sea,
We sat on the sand, and the boy took her hand,
But I saw the sun rise as a man.

Marlena – (Bobby Goldsboro) – a slight Latin feel (very slight) but catchy in that I’ve had too much wine and I’m gonna sing along way ….
He’s Part of Us – (Bobby Goldsboro) – a song about adoption. A pretty good pop song about adoption. How many others can you name?
The L&N Don’t Stop Here Anymore – (Bobby Goldsboro) – This is not the same as the Jean Ritchie written Johnny Cash song. Odd that they have the same exact name. This is another song about the passing of the days of rail. MOR but evocative ….
Sing Me a Smile- (Bobby Goldsboro) – a romantic happy, happy MOR song.
Mississippi Delta Queen – (Bobby Goldsboro) – a song about a paddle steamer
Killing Me Softly with Her Song – (Charles Fox / Norman Gimbel) – done by everyone this song was a number ! in 1973 for Roberta Flack. Bobby has done a gender shift with "his song" becoming "her song".
Spread My Wings and Fly– (Bobby Goldsboro) – whoa, so middle of the road it looks like a white line. Catchy though …..
If’n I Was God – (Richard M. Sherman / Robert B. Sherman) – a cover of a song from the "Tom Sawyer" musical film of 1973. Quite Broadway but quite good though doesn’t really fit in with the other numbers.

And …

Despite the cover where Bobby seems to be channelling 70s Elvis and some nice pop this is still an album where I’m taping a couple of songs and then selling.

It is, though, an album perfect for young love. It may end up on Ivan’s iPod.

Chart Action

US
Singles
1973 Summer (The First Time) The Billboard Hot 100 #21
1973 Summer (The First Time) Country Singles #100
1974 Marlena Country Singles #52

Album
1973 Country Albums #10
1973 The Billboard 200 #150

England
Singles
1973 Summer (The First Time) #9

Album
—

Sounds
Summer (The First Time)
clip
http://www.youtube.com/watch?v=mYHEBa6Xx48
http://www.youtube.com/watch?v=lQvGyEKO79w

Marlena
http://www.youtube.com/watch?v=L6NHollCY2k

He’s Part of Us
http://www.youtube.com/watch?v=O1yif1s8YDs

The L&N Don’t Stop Here Anymore
http://www.youtube.com/watch?v=uDM1rBpcSSU

mp3 sound:

Bobby Goldsboro – The L&N Don’t Stop Here Anymore

Sing me a Smile
http://www.youtube.com/watch?v=v5h7zdJJhUs

Mississippi Delta Queen
http://www.youtube.com/watch?v=tLKWBxKcfFM

Killing Me Softly with Her Song
http://www.youtube.com/watch?v=32J2P23pjWk

Spread My Wings and Fly
http://www.youtube.com/watch?v=urDSxcr59xw

If’n I Was God
http://www.youtube.com/watch?v=CVlIajzpyY4

Others
the obligatory "Honey"
http://www.youtube.com/watch?v=59BZxgohr9g

http://www.youtube.com/watch?v=UYUa9DN8yCU

Review
http://www.allmusic.com/album/summer-the-first-time-mw0000875726

Bio
http://en.wikipedia.org/wiki/Bobby_Goldsboro
http://www.allmusic.com/artist/bobby-goldsboro-p4381/

Website
http://www.bobbygoldsboro.com/
http://www.chichibu.ne.jp/~keiki/

Trivia
• Backing vocalists include the great Bergen White and Buzz Cason. Both legends.

Posted in Adult Pop, Rock & Pop | Tagged 1973 | Leave a comment

BOBBY DARIN – Something Special – (Atlantic) – 1967

Posted on February 10, 2013 by Franko

Bobby Darin is a legend.

I get tired starting comments with the so and so is a legend.

But I have to. I find it easy to put it out there from the start and then work backwards.

Which is apt because that’s what Bobby Darin was doing here. Working backwards.

Don’t get me wrong there is nothing wrong with the music but Bobby was doing this in 1961 when he took rock ‘n roll in a different direction by synthesising it’s beat, energy and hyper emotions with the laid back crooner trad pop of the musical establishment. The only other big acts doing the same were Elvis (more rock less trad pop) and Pat Boone (more trad pop and less rock). Bobby drove down the middle and really ended up defining that sound. This became incredibly influential and yet popular music critics don’t acknowledge Darin.

Bobby backed up singles like “Mack the Knife” , “Beyond the Sea” and “Lazy River” with albums and at least one concert album from the time, “ Darin at the Copa”, where he is as much (if not more) Frank Sinatra as he is Elvis Presley or Ray Charles (another artist Darin admired).

He cemented that image in movies and many TV shows of the time and the establishment loved him. Here’ was a unruly rock n roll kid growing up and playing adult music.

Bobby though wasn’t content. Within three years he went on to a series of folk pop albums which are memorable if a little unknown.

He was always on the move musically …perhaps it was because he knew he would die young (which he did …read the links to his bio below). Perhaps he was just bored. Perhaps he was wise enough to surround himself with contemporary adventurous musicians (Roger McGuinn was in his band for a while even). Perhaps the times were right.

Music is a business though.

Darin never ditched his “Broadway bag” of music and returned to it time and again and even though he changed his live act a number of times he, also, returned to the suit, tie and orchestra show.

And that’s what we have here. Darin live in England in 1967 doing his trad pop standards in a standard Bobby Darin hepcat show from 1961. Impressions and lounge lizard one liners are down pat. The thing is that Darin is never standard.

The guy can sing and he wore his heart on his sleeve.

And what’s more Darin is smart with a sharp sense of humour. You can hear that in some of the between song banter but you can also here that in how he delivers the songs. There is a little playful venom in his delivery which is aimed at his well-heeled audience (nothing like biting, or rather pecking, at the hand that feeds you).

This is the only Darin album I did not have (there are about thirty) and I have loved this guy from when I was in my early 20s (Hell, Elvis loved his singing … that’s how I got on to him) so this is a real treat.

Ultimately though it’s not an album I will play a lot and there is nothing wrong with the show but it’s a variation on the Darin stage act which he has done elsewhere earlier (the “Copa” album) and subsequently (“Live at the Flamingo”)

Now for a ramble ……

Darin is not as respected as the other 50s rock n rollers.

Why?

Because he vacillated between musical styles too much?

Because he recorded many covers even though he wrote many songs?

Because he had a career in film and TV?

Because he was a natural all round entertainer?

Because he played music for the “older” crowd?

Because he was brash, confident and ambitious?

Because he sang a lot of MOR schlock?

All of the above is true but so is the fact that Darin could sing rock, pop, Broadway, folk, singer songwriter, soul and blues. He could play piano, drums, guitar, harmonica and the xylophone.

He had a keen sense of adventure slipping folk songs into his Vegas show and MOR old school pop into his rock shows. Much like Elvis he did not want to be limited by one form of music and dipped into his musical memory. Also, like Elvis he had great taste, musical intelligence and a great ear for music.

Unlike Elvis, Bobby wrote many, many songs. Also unlike Elvis Bobby never had a problem about speaking out his mind on politics, social issues or fame generally. Elvis’ views were not that dissimilar but he rarely voiced them. Maybe that’s the difference between being a poor kid from Memphis and a poor kid from the Bronx?

He wasn’t the great stylist that Elvis was and wasn’t as great an interpreter as Elvis, but on occasion he comes close and he was still head and shoulders above his contemporaries. It becomes clear that, with Bobby, there is more than meets the eye and the official music histories have not given him enough credit. Even Kevin Spacey’s flawed (but interesting) film bio on him didn’t create much interest.

Ultimately, Elvis loved Bobby Darin and normally that would be all I need, but there is so much more to Bobby.

Tracks (best in italics)

Don’t Rain on My Parade – (Styne, Merrill) – From Funny Girl. Bombastic and full on. A perfect way to open a show like this.
About a Quarter to Nine – (Warren, Dubin) – hmmm
Once Upon a Time -(Strouse, Adams) from "All American" …magnificent sentimental song
I Wish I Were in Love Again – (Rodgers, Hart) – from "Babes in Arms" –
Mack the Knife -(weill, Brecht, Blitzstein) – from "The Threepenny Opera" – possibly the most Bobby Darin associated song. The song is great and I don’t think I’ve heard Darin do a bad version.
If I Were a Carpenter -(Hardin) – magnificent
Impressions (One for My Baby) – (Arlen, Mercer) – Yes impressions – and he pulls them off really well. All round entertainer indeed.
The Girl That Stood Behind Me – (Stevens) – one of Bobbies more folky numbers. A beautiful song well sung by Bobby.
Funny What Love Can Do – (Darin) – a slow bluesy song
What’d I Say – (Charles) – Darin was a great rock n roller. Not outrageous, or wild but he has the beat.
That’s All – (Haymes, Brandt) – the trad standard associated with Bobby

And …

Excellent lounge with some corn in the corner…. I’m keeping it.

Chart Action

Nothing, no where.

Sounds

Don’t Rain on My Parade
live
http://www.youtube.com/watch?v=Rz8PW_5dG-o

Once Upon a Time
live
http://www.youtube.com/watch?v=MYbAyukVpHM

Mack the Knife
live
http://www.youtube.com/watch?v=JUAk-CRNC44
http://www.youtube.com/watch?v=4Qrjtr_uFac

If I Were a Carpenter
live
http://www.youtube.com/watch?v=bjFRLOktHXo

mp3 attached

Bobby Darin – If I Were A Carpenter (Live)

Impressions (One for My Baby)
http://www.youtube.com/watch?v=nhbi_W-TDAQ

The Girl That Stood Behind Me
http://www.youtube.com/watch?v=XUwv96H3bi0

What’d I Say
live in london clip
http://www.youtube.com/watch?v=CR8Dr1ey3gI

That’s All
live
http://www.youtube.com/watch?v=8L_cy5PgfRc

Others
a good example of Darin the all entertainer – slick, talented, confident…and he is 29
http://www.youtube.com/watch?v=6JMUGlQE-HE

http://www.youtube.com/watch?v=Y3QAXi1_350

some styles of Bobby:
http://www.youtube.com/watch?v=oMCsc4Iqvqc
http://www.youtube.com/watch?v=GCnhEfQ1bA4
http://www.youtube.com/watch?v=N16WP-vwIDA
http://www.youtube.com/watch?v=SEIDep_UMmk
http://www.youtube.com/watch?v=UZ1ohsissjE

Review
—

Bio
http://en.wikipedia.org/wiki/Bobby_darin
http://www.allmusic.com/artist/bobby-darin-mn0000070715

Website
http://www.bobbydarin.net/main.html
http://www.webring.org/l/rd?ring=bobbydarin;id=2;url=http%3A%2F%2Fdarinland%2Ecom%2F

Trivia

This album is the soundtrack to Bobby’s BBC Television Special from London which aired in May 1967.
Apart from Elvis, Darin was the only rock n roller to have a film career. It was’nt a big one but he got the serious roles Elvis would have killed for. In 1963, he was nominated for an Academy Award for Best Supporting Actor for his role as a shell-shocked soldier in Captain Newman, M.D.
Bobby and Roger McGuinn of The Byrds http://darinland.com/Roger-McGuinn-Bobby-Darin.html

Posted in Adult Pop, Rockabilly and Rock n Roll | Tagged 1967 | Leave a comment

DON EVERLY – Don Everly – (Ode) – 1971

Posted on February 3, 2013 by Franko

The Everly Brothers are legends.

Just about all of their albums are worthwhile whilst some are brilliant.

Unfortunately they, like so many of their era, are considered to be a singles act. This is unfortunate because their albums hold many treasures.

Check out my Everly Brothers comments on this blog.

More unfortunate still is the way their solo efforts are over looked.

Don (the older brother) made three solo albums whilst Phil made five.

I’m not going to compare the brothers and play favourites as they both have strengths (and weaknesses) but they are clearly brothers.

The Everlys, also, wrote a lot of their own material, especially earlier in their career, though by the mid-60s they seemed to concentrate on covers. That’s not to say their covers are straight. Their twin harmonies and personal tastes certainly transformed many songs into something entirely different. They heightened emotions, changed the philosophical point or just made the songs sound their own (a usual statement on someone who does a good cover but in this case it’s the truth).

Either way their albums tended to be a a good mixture of originals and (mainly) covers.

I assume their need for expression as individuals led them to both solo albums and their break up. They broke up in 1973 (reformed in 1983) but both had been moving towards solo material. Interestingly, and perhaps not surprisingly, they both expressed themselves as writers in their solo work more than they did in their duo work, well a least a lot more than they had in the preceding 10 years.

Don jumped the break up with this album, the first solo Everly album, and created an album which on its face is country rock at its best.

But, it’s not just that.

It is not straight – it’s personal, quirky and occasionally obscure. The melodies are gentle and there is a foreboding over the album. It is reflective and not dissimilar to The Beach Boys late 60s, early 70s releases. In fact, think Brian Wilson doing acoustic country and you wouldn’t be far wrong. Such an analogy isn’t outrageous either, given that The Beach Boys must have been influenced by The Everly Brothers harmonies.

Don had enough room to experiment. The Everly Brothers had lost a lot of their audience and were not picking up hordes of new fans. Such detriments though are really benefits, as long as you can get someone to front the money. You have no audience to please or expectations. You can break the mould and Don does that here.

Confessional singer songwriter with country overtones.

Haunting alt-country before that style formed rules and got a little boring.

Beautiful acoustic pop …that is never going to be mainstream.

I grant you that, on first listening, there is less than meets the eye (or, rather, ear) but a second listen will confirm there is a lot going on here.

Magnificent.

The music is nothing less than magnificently played. Check the personnel: Don Everly (vocals, acoustic guitar); ; Scott McKenzie (acoustic 12-string guitar); Ry Cooder (bottleneck guitar); Curtis Amy (saxophone); Spooner Oldham (keyboards); Paul Beaver (Moog synthesizer); Max Bennett (acoustic bass); ; Jim Keltner (drums); George Clinton Jr (organ): Milt Holland (percussion); Chris Ethridge (bass);Sneaky Pete Kleinow (steel guitar); Debra Clinger, Peggy Clinger, Donna Washburn (background vocals).

Google them.

Lou Adler produces.

Tracks (best in italics)

Tumbling Tumbleweeds – (Bob Nolan) – a different version of the song. And one that works. Haunting.
Eyes of Asia – (Don Everly) – Superior country rock
Don't Drink the Water – (Don Everly)- I'm not really sure what the meaning of the song is, or even understand the analogy but any song that has a line "Dont drink water, drink wine" can't be bad. In fact the song is great.
Safari – (Don Everly) – a strange though catchy song partially ecological and partly personal. The vocal is beautiful restrained and slightly desperate. . There is some channelling of Paul Simon (or vice versa).
Omaha – (Don Everly) – a gentle little love song that's a little existential. It would make Brian Wilson proud. Originally done by the Brothers in 1968 (but unreleased till 1977)

It’s hard to remember Pittsburgh properly
It’s hard to recall what I did in D.C.
No vivid remembrance of things in L.A.
The times and the places have just slipped away

It seems that I found everything that I wanted
All in Omaha
Everything’s there my love and my laughter
It’s all in Omaha

I’m going back to Omaha
In Omaha
I’m going back to Omaha
In Omaha

February 15th – (Don Everly) – Don Everly meets the counterculture. A good number driven by acoustic guitar which has slightly obscure stream of consciousness lyrics.
When I Stop Dreaming – (Charlie Louvin, Ira Louvin) – a typical (ie: beautiful) Louvin Brothers song about love. Curiously, the album credits only Don as writer.
My Baby – (Don Everly) – a gently funky little song.
Thinking It Over- (Don Everly) – another introspective piece
My Friend – (Don Everly) – introspection with psychedelic overtones.
Sweet Dreams – (Don Gibson) – Don Gibson's great song done by a lot of people but normally associated with Patsy Cline. Like all the covers on this album Don changes the song into something different and more personal to him.

And …

Excellent, a neglected gem…. I'm keeping it.

Chart Action

Nothing, no where

Sounds

Tumbling Tumbleweeds
http://www.youtube.com/watch?v=1US_0JE6PUA

Eyes of Asia
http://www.youtube.com/watch?v=4aZHWnaNSYQ

Omaha
MP3 attached
Don Everly – Omaha

When I Stop Dreaming
http://www.youtube.com/watch?v=XSmwuCJ2WCU

My Baby
http://www.youtube.com/watch?v=exmGTtai05M

Others
http://www.youtube.com/watch?v=tb-4cmjTA1s
http://www.youtube.com/watch?v=lVHP7jR8_8o
http://www.youtube.com/watch?v=lot1jjphtg0

http://www.youtube.com/watch?v=SAmotP1MjIg

Review
http://ibuyrecords.blogspot.com.au/2009_11_01_archive.html

Bio
http://en.wikipedia.org/wiki/The_Everly_Brothers

Website
http://www.everly.net/
http://www.everlybrothers.net/

Trivia
—

Posted in Alt Country, Rockabilly and Rock n Roll | Tagged 1971 | Leave a comment

MICKEY NEWBURY – I Came to Hear the Music – (Elektra) – 1974

Posted on January 27, 2013 by Franko

Newbury was friends with Townes Van Zandt and occupied the same territory as him but no cult has developed around Newbury since his death as it has with Townes.

Townes is great but,

Newbury is better.

They both write direct emotionally challenging songs and know how to put them over. But like many things musical, music is only part of a persons success. Townes had his image down pat and the attitude to match the image. Newbury didn’t. It is easier, in terms of image, to see why a cult developed around Townes rather than Mickey.

After all, you have to appeal to the voguey poseurs.

Also, Townes’ music was more consistent – not in quality, but stylistically. Mickey could do folk, country or singer songwriter. He could also add strings, MOR instrumentation, choruses and sound affects. Some of this dates his music whereas Townes music pretty much remains evocatively dusty.

But Mickey is more ambitious and perhaps more adventurous. And these are the joys of Mickey ….he will always surprise you.

His songs are gentle and flow over you. His stories are akin to a wise, gentle, melancholic drunk telling you about life and love in a bar late at night.

This album could be subtitled "The Love Album" or perhaps "The Love has finished album". Newbury writes and sings of the joys of love and the inevitability of love gone. Most of the songs have a melancholy which occasionally tips over into despair. What is surprising is that Mickey can tackle the same "love" theme and write lyrics which do not become over familiar and are quite complex.

With the "love" themes come the inevitable, occasional, strings, angelic choruses and dramatic instrumentations. They may be a little dated but they are evocative of time and place …the southwest circa 1974.

Not surprisingly Mickey draws from the old pre-rock "great American songbook" style of song writing. There is no hint of Lennon-McCartney to be heard at all. Occasional Dylan is heard but mainly because Dylan also draws from the same source.

If Stephen Sondheim wrote country weepies they would perhaps sound like this.

That’s not to say that the music is country. Country purists would find little here for them. The album is better described as singer songwriter with country overtones or perhaps …early alt country.

Check out my other comments for biographical detail on Mickey.

Arranged and produced by the great Chip Young.

The album is on Elektra – just about everything on Elektra is worth listening to.

Tracks (best in italics)

I Came to Hear the Music – beautiful, though the MOR treatment may turn some off
Breeze Lullaby – the last song does a nice segue into this one though this track heightens the emotional pitch
You Only Live Once (In a While) – a beautiful song. Very deliberately paced and akin to the romantic country melodramas Elvis was singing in the early 70s.
Yesterday’s Gone -an almost country gothic melodrama about the passing of love.
If You See Her – another great song. A reaffirmation of ones love for another. Waylon Jennings covered this.

If you see her and she mentions my name
Tell her for me that she was not to blame
There’s no reason now for her to feel ashamed
If you see her and she mentions my name

Everything I told her then was true
Everything was true at the time
But time has a way of changing everything
Truth has a way of changing all the time

If you see her and she mentions my name
Tell her the times have but I have not changed
All my friends know that I still feel the same

Dizzy Lizzy – a rocking song… not convincing though it breaks up the album with a big beat. I think it may grow on me though.
If I Could Be – an interesting song that says, I love you and I want you and I don’t want to be strong because if I am then I wouldn’t need you.
Organized Noise – Loves end ….

I hate to say it Lord
But her flowers are wilting
And her words have become
Just an organised noise

Love, Look at Us Now – more loves gone.
Baby’s Not Home – this encroaches on to country Ray Charles territory.
1 X 1 Ain’t 2 – an up-tempo country hoedown in the Jerry Reed mould. Not too bad at all.

And …

Not a perfect album. Not even a great one. This is not even one of the better Mickey Newbury albums, but some of the songs are magnificent.

If you love Lambchop then listen to this. I’m keeping it.

Chart Action

nothing, no where

Sounds
I Came to Hear the Music
http://www.youtube.com/watch?v=KlHzPE1xMtw
cover by Bonnie Prince Billy
http://www.youtube.com/watch?v=BnAuwvgAMRg