Former member of the Be Good Tanyas, Frazey Ford is an artist to be reckoned with. The Vancouver based, country soul artist released her third solo album earlier this year. U kin B the Sun is another leap forward in her creative growth. That’s a huge accomplishment after the giant step she took with her last album, Indian Ocean, when she incorporated Memphis soul into her sound by recoding with the Hi Rhythm Section that supported all of Al Green’s huge 70s hits.
Take a listen to “Holdin’ It Down.”
I held it all together, heavy on my mind I held it all together but I left it all behind I didn’t see you coming, coming down the line Traffic in the atmosphere, salt inside your smile
Lessons I’m unlearning, back and forth in time Coming up all rocky and opening in my mind
I have been holding down long as I can remember You know the only thing I have depended upon has been me Oh well, but I’d like to rest on the shore Before I go back and do more And I’m taking a plane and a car straight to your door
The sap it runs in springtime The thaw begins at night My hips are moving forward I come from a mellow line
Reckless deep abandon Streets that open wide I thought I wasn’t ready I was ready all the time
Ford, quoted on her record label (Kill Beat Music) website describes the lyrics saying, “To me it’s about an embodied sense of female resilience and self-reliance through generations mixed with the urge to rest and trust in another.”
The instrumentation on this song follows the axiom that sometimes “less is more.” I love the way the single root note is pounded in time through the chorus. The sparse arrangement leaves plenty of room for Ford’s expressive vocal.
Check out the rest of Ford’s recordings on Spotify. You won’t be disappointed!
Seatrain is one of those relatively obscure bands that I really enjoy listening to. Their first, eponymous album was called Sea Train (1969). That band was formed by ex-members of the Blues Project, flutist/bassist/songwriter Andy Kulberg and drummer Roy Blumenfeld. They were joined by fiddler Richard Greene who had played with Geoff and Maria Muldaur in the Jim Kweskin Jug Band.
The second, eponymous album was titled Seatrain (1970). That’s my favorite and was improved by the addition of Peter Rowan on guitar, but more importantly, lead vocals. Seatrain was produced by George Martin. It was the first rock act he produced after completing his run with the Beatles on Abbey Road. (Seatrain recorded for Capitol Records, as did the Beatles in the US before they formed Apple.)
The country-rock on Seatrain makes some biblical references. The song “Waiting for Elija” alludes to Elija’s second coming. Another biblical story is told in “Book of Job.”
Today’s SotW was the band’s only “hit.” “13 Questions” reached #49 on the Billboard charts.
“13 Questions” flips the typical alien invasion story. This one is told from the perspective of the alien.
Deep in the darkest hour of a very heavy week, Three Earthmen did confront me, and I could hardly speak. They showed me 19 terrors, and each one struck my soul, They threw me 13 questions, each one an endless hole. Thirteen questions, each an endless hole.
If anyone is interested in digging deeper, check out Seatrain’s recording of Lowell George’s “Willin’” – there titled “I’m Willing.” It has a creative arrangement and was on record before either of the two versions released by Little Feat on their first two albums.
I just learned that Emitt Rhodes died on July 19th. I’ve always enjoyed his music and featured him in SotW posts on March 26, 2016, and July 16, 2011. The 2011 essay is posted below.
Ignored Obscured Restored
Back in 1970, two fine artists were recording pop masterpieces in their home studios. In both cases the musician played all of the instruments himself, beginning a trend that others would soon attempt (e.g. Something/Anything by Todd Rundgren). One was the solo debut by the famous ex-Beatle Paul McCartney that all of you have heard. The other, by Emitt Rhodes, (sadly) languished in relative obscurity.
Rhodes had his first shot at fame when his band The Merry-Go-Round had a modest hit in 1967 with the song “Live.” It only reached #63 nationally but made a bigger impression in So Cal. That probably explains why most of us are more familiar with the song as covered by the LA based band, The Bangles, on their first album.
When The Merry-Go-Round failed to capitalize on their first break, Rhodes decided to retreat to his parents’ garage and pull the one man band trick. The result is a fully realized production, not just a set of well recorded demos. Here’s how the album is described in the book The MOJO Collection (The Greatest Albums of All Time):
“Rhodes took classic Beatles motifs and made them his own: Abbey Road guitar, McCartney upper register bass lines, and the familiar call and response harmonies of “Hello Goodbye”.”
So in addition to the previously mentioned “Live”, the other SotW is “Somebody Made for Me”, from Emitt Rhodes – the album MOJO calls “The best LP Paul McCartney never made.”
In high school, I was a big fan of Loggins & Messina. If I could transport the current me back to the early ‘70s I might ridicule the young me’s taste. But I still enjoy listening to a lot of their music when I hear it today. I’ll admit they are a “guilty pleasure” and leave it at that.
That medley of “Lovin’ Me/To Make a Woman Feel Wanted/Peace of Mind” from their Sittin’ In debut still satisfies. But one of my favorites is the final track on their 1972 second, eponymous album – “Angry Eyes.”
“Angry Eyes” was the template for the “long song” feature on each of their next few albums. There was “Pathway to Glory” on Full Sail, and “Be Free” on Mother Lode. All open with a traditional song melody and lyric but evolve into a progressive “jam.” I use the term jam loosely because the structure is not improvisational – it is a well orchestrated composition.
“Angry Eyes” flows a lot like the Rolling Stones “Can’t You Hear Me Knocking” – which is truly a jam – but is less bluesy and uses a wider variety of instrumentation. Still, it creates emotional ebbs and flows that are very pleasing to the ear.
In concert, “Angry Eyes” was a Loggins and Messina staple. I was fortunate to see them at Cornell University in March of ’73. Jim Croce was their support act. I was lucky to have the chance to see Croce too, as he died in a plane crash in Louisiana six months later in September ’73.
This is the next installment of my series on Rock music in films; today covering the British Invasion.
The Beatles reached into the homes of millions of Americans via The Ed Sullivan Show on Sunday evening, February 9, 1964, launching Beatlemania. A month later, the Beatles began filming their first movie – A Hard Day’s Night – that was released in the US the following August.
Like the Beatles’ music itself, A Hard Day’s Night set the bar for quality very high. It’s not only a good Beatle movie or a good Rock music movie; it’s simply a good movie – a very good pun and quip filled movie.
The screenplay was written by Alun Owen and deftly directed by Richard Lester. Both provide ample opportunities for each Beatle to reveal their personality. The Beatles prove that they are more than lovable mop tops. They are smart and funny young men. The scene where George accidentally stumbles into a focus group meeting for a ‘60s version of a style influencer is hilarious.
The segment where the boys escape the TV studio and romp around the Thornbury Playing Fields in Isleworth, Middlesex, to “Can’t By Me Love” was shot using camera techniques that would be copied many times over, especially by The Monkees.
Other movies starring British Invasion groups include fellow Liverpudlians Gerry and the Pacemakers in Ferry Cross the Mersey (1965), Herman’s Hermits’ Hold On (1966), and The Dave Clark Five in Having a Wild Weekend (1965). They all seem to try to imitate A Hard Days Night to a greater or lesser degree. But all fail.
Check out the DC5 mimicking the Can’t Buy Me Love, Thornbury scene at the end of this clip:
Having a Wild Weekend (originally Catch Us If You Can in England) is a decent film, the directorial debut by a young John Boorman who later achieved success with Deliverance (1972). The plot involves a young model/actress Dinah (Barbara Ferris) who wants to escape the pressure of being the commercial image behind a meat industry campaign. Stuntman Steve (Dave Clark) – who was a real-life stuntman before becoming a rock star — sympathizes with the craziness surrounding them and takes her away on an impromptu journey.
The film doesn’t take advantage of any “on-screen” performances by the group, a decision that limits its appeal. But it does include several DC5 recordings – “It’s Gonna Be Alright,” “Move On,” “I Like It” and, of course, “Catch Us If You Can.”
So stay tuned. There’s more to come in this exploration on the topic of Rock music in films.
I wanted to write something patriotic to honor our Independence Day. There is so much turmoil today that we need something to bring us – all Americans – together. After quite a bit of thought, I decided on Paul Simon’s “America”, originally on the Simon and Garfunkel album Bookends.
The song was used to great effect in one of the Muscarella family’s favorite movies, Almost Famous. In the “America” scene, Anita Miller (Zooey Deschanel) is leaving home to become an airline stewardess. Her mother (Frances McDormand) and little brother William (Michael Angarano) stand watching as the car is packed for the journey. Before she takes off, Anita whispers to William… “One day you will be cool. Go look under your bed. It will set you free.”
Everyone needs a big sister like Anita!
“America” evokes Anita’s yearning for freedom and mobility. It is a travelogue of a bus trip across the US. True Americana. References to real places (Pittsburgh, Saginaw), roads (NJ Turnpike), and the nostalgia of Mrs. Wagner’s Pies.
First Aid Kit recorded a beautiful version of “America” that is today’s SotW.
But what really grabs me today is the first two lines of the final verse. That’s when the previously playful road trip (“Laughing on the bus, playing games with the faces”, “She said the man in the gabardine suit was a spy”, “I said, be careful, his bowtie is really a camera”) turns somber.
Cathy, I’m lost, I said though I knew she was sleeping And I’m empty and aching and I don’t know why
These lines seem to capture the anxiety and isolation many of us are feeling in these times of COVID-19, racial tension, and economic insecurity.
First Aid Kit performed “America” live, at the Polar Music Prize (a Swedish music award), in front of Paul Simon in 2012. Simon was so moved, he gave them a standing ovation and seemed to be close to tears.
If their performance was good enough for Paul, it’s good enough for me.
“Balloon Man” was a 1988 “hit” for Robyn Hitchcock & the Egyptians. (It reached #1 on Gavin Report’s Alternative Music chart.)
Hitchcock wrote the song about walking in
NYC in the rain while eating a falafel.
He spattered me with tomatoes, hummus,
And some strips of skin
So I made a right on 44th
And I washed my hands when I got in
And it rained like a slow divorce
And I wish I could ride a horse
And Balloon Man blew up in my hand
Besides the falafel hint, the whimsical lyrics are indecipherable. But after watching the official video, I can’t help but think that it was at least partially inspired by the balloon character Rover from the ‘60s British television series, The Prisoner. Hitchcock is of the age that he would have been very familiar with the show.
A bass line introduces the song and
plays a key role throughout. The guitars
go full jangle in the chorus and then come back at about 2:40 to take us all
the way home.
In a 2011 interview Hitchcock gave to
Will Harris of the AV Club, he mentioned the song was originally written for The
“Well, “Balloon Man” I wrote for The Bangles, if you remember them. I was in touch with a couple of them, and I sent them a quarter-inch, 7.5 IPS reel. I don’t know if they did anything with it.”
I wish The Bangles had recorded it because
it perfectly suits their style of harmony-filled, jangle rock.
“I Love You More Than You’ll Ever Know” is my favorite song from one of my favorite albums – Child is Father to the Man by Blood Sweat & Tears. Child… is the first BS&T album from the time that Al Kooper led the band. But he was one and done with the band he founded.
A blues in 6/8 time (I’ve never met a
song in 6/8 that I didn’t love), ILYMTYEK packs an emotional punch – both lyrically
If I ever leave you… you can say I told you so And if I ever hurt you, baby … you know I hurt myself as well
Is that any way for a man to carry on Do you think he wants his little loved one gone I love you More than you’ll ever know
Steve Katz’s guitar tone in the opening
riff is perfect! And those horns!!! The arrangement is beautiful, especially in
the modulated bridge where they build to an emotional peak. Then there’s that sax solo by Fred Lipsius. Magnificent!
In his autobiography, Backstage
Passes and Backstabbing Bastards, Kooper claimed that he was attempting to
channel Otis Redding when he cut the vocal.
Not known as a great singer, he pulls off a gem on this one. Although his voice is straining at the cut’s
climax, it only adds to the sense of pain he’s struggling to convey.
The great Donny Hathaway laid down a
wonderful cover version of ILYMTYEK that’s worth tracking down.
Today’s post was written by second time guest contributor, Pete
McQuaid. While on vacation together in
the Adirondacks last summer, I hatched the idea of writing this Rock in Film
series. Since Pete is interested and knowledgeable
in both music and film, I asked him to write about a genre that is more popular
with his generation than mine. He took
the challenge and authored this terrific post.
While I originally planned to release this series in chronological
order, current events have made it more relevant today.
[Writer’s Note: Tom asked me to write this SOTW a few months
ago and I’ve enjoyed learning more about the history and films I discuss below
in preparing to write the piece. I
wanted to make sure I mentioned, particularly in light of the necessary
national conversation going on in the past few weeks, that I’m in no way
an expert on either hip-hop or black film and that I would strongly recommend
seeking out voices from the African-American community for deeper understanding
and context on both this subject and black culture as a whole.]
The evolution of hip hop from an underground urban subculture to arguably the dominant modern pop music genre began in the early 1980s, coinciding with the arrival of a new wave of African-American filmmakers who focused their work on serious, empathetic depictions of the black experience in America. MCing, and b-boying came to the big screen with the release of Wild Style (1983) and Beat Street (1984), bringing the world of New York City hip hop to the mainstream and leading the way for more rap-related films in the mid-1980s.
As Spike Lee was “looking for an anthem” for Do the Right Thing, his 1989 look at racial tensions boiling over during the course of a single day in Brooklyn, he commissioned Public Enemy to write what would become “Fight the Power.” “Fight the Power” energizes Do the Right Thing from start to finish, first as accompaniment to Rosie Perez’s dance in the opening credits and then throughout the movie as the soundtrack of choice for boombox-wielding Radio Raheem. As black men like Radio Raheem continue to be murdered by police and widely disenfranchised to this day, it’s a reminder of how relevant, prophetic, and, ultimately, sad Do the Right Thing remains 30 years after its releas
The 1990s brought more serious African-American cinema to
the mainstream, with such films as Boyz n the Hood, Menace II Society,
Above the Rim, and New Jack City, all of which were
heavily soundtracked by prominent hip hop artists of the time. However, “being taken seriously” in film
often means Oscars, for better or worse (usually… worse). The first rap song to win Best Song at the
Academy Awards is “Lose Yourself” by Eminem in 2002 from 8 Mile, a
once-jam that is now played in every suburban mom spin class.
Hustle & Flow’s “It’s Hard out Here for a Pimp” by Three 6 Mafia won in 2005 and has not had the same staying power, but this scene from the movie is a great example of how film can reveal process and character through rap music. Also, it’s a fun Southern banger! Jon Stewart said it best when Three 6 Mafia accepted their award in front of a bewildered, stodgy Oscar crowd: “How come they’re the most excited people here tonight?”
But one thing I’ve never seen before was in Jordan Peele’s Us, where the “spooky slowed-down pop song in a movie trailer” gambit is taken to a whole other level. Luniz’s “I Got 5 On It” is introduced by the characters in a car ride (with very suspicious snapping on the 1 and the 3 by Lupita Nyong’o) and then is eerily, orchestrally weaved into the score by the movie’s end.
One of my favorite Bonnie Raitt cuts is the opener on her third album, 1973’s Takin’ My Time – “You’ve Been In Love Too Long.”
The album was produced by John Hall of
Orleans, and Raitt was backed by an A-list of musician friends. “You’ve Been in Love Too Long” features Hall
(lead guitar), the late Paul Barrere (rhythm guitar) and Bill Payne (keys) of
Little Feat, the great Jim Keltner (drums), and longtime collaborator Freebo
(bass). No wonder the song has such
snap, crackle and pop!
“You’ve Been in Love Too Long” is a cover of a 1965 Motown release by Martha and the Vandellas. The original cracked the Billboard 100 top forty at #36 but wasn’t a “success” by Motown standards – especially as the follow up to “Nowhere to Run” that reached #8 and stayed on the charts for 11 weeks.
I’m usually partial to originals over
covers, but not in this case. Compared
to Raitt, Martha Reeves track feels sluggish.
That isn’t an adjective that’s often used to describe a Motown
song. So the credit here goes to Raitt