The authentic 60s-ness and some of the corny that goes with it is well worth whatever recorded music is being passed off as live here.
Very early “chick in the band purely as eye candy” pioneering here too.
An old friend of mine and I spent about an hour of the Super Bowl talking about the old AFL, sparked by an impromptu contest of could we name all the original AFL teams as well as a player on each.
Today he sent me this. Quincy Jones doesn’t like it:
From the same label as the Ron Gallo cut I posted last night, there was a link on the end of his video, this is just plain goofy exuberant fun. The album is out later this month.
This entertains me way more than it has any right to:
One of my favorite Van Morrison albums is his 1991 double CD Hymns to the Silence, which is admittedly uneven but is also eclectic and lovely and swinging, religious and profane, too. And that’s what the best of all Van Morrison’s work is.
Hymns wasn’t on any streaming service and my version of it is vinyl, so I hadn’t listened to it for a long time, but Steve’s post prompted me to look for it again and there it is now on Google Music. But that’s not today’s story. While looking for Hymns today I found a record called The Infamous Contractual Obligations Albums of 1967, which consists of 30 songs, not one of which is more than a minute and half long.
The title is relatively new. The record was originally released as The New York Sessions ’67, and the story is complicated, involving contracts, hatred and death. You can read the whole thing here, at Dangerous Minds.
The writer there ponders the question of whether there is musical merit in these dashed-off tunes, a Minutemen-colored version of Van the Rocker. I’m not sure about merit, but what is cool about listening to the album through is how elemental the chord progressions of these “songs” are. Many refer to other hit songs, like Hang On Sloopy and Twist and Shout, but others are just clever enough to stand as underdeveloped bits of rock ‘n’ roll with goofy lyrics.
This is more derivative than some, more rockin’ than others. Go ahead, try out the whole thing. It’s fun.
Awfully nice story about Country Joe in the NY Times today. What a career (you call that a career?).
. . .cover one of my favorite Queens songs.
This is way more funny than good to me.
That’s what Lawr posted about. I’m with him on Locomotion. Here’s his post about songs that grabbed him immediately. That’s a great idea, and I’m with him on Complete Control, maybe the greatest of the great Clash’s cuts.
I think he’s out of his mind on the Peter Gabriel, but that isn’t my call. What is my call is this is No. 1, without a doubt. Changed my life. Really.
But the Beatles were huger.
Every week on my show on FNTSY (the Tout Wars Hour, 9-11 PM, ET every Thursday night he plugged shamelessly) I ask my special guest to reveal a favorite album, movie, TV show, athlete to watch, and food and the list, as Fantasy now spreads generations, is big fun.
There are wonderful surprises like Tim McLeod loving Sunburst Finish by Be Bop Deluxe and Eno Sarris, being a fan of his namesake’s Taking Tiger Mountain by Storm.
A couple of weeks ago my special guest was Jeff Zimmerman, and when I suggested that basic script for the show that week I also noted that during our final five minute segment we do indeed review those pop items like players we like to watch and music we like to listen to.
Jeff warned me in advance that he was not that much of a music person, and I responded no problem, and there must be a Beatles or Stones or some kind of album or song in his head somewhere he liked and just do the best you can.
But, never, ever, ever, did I expect his actual entry to the list which is a blue grass cover of The Wall performed by Luther Wright and the Wrongs.
So, I went digging a little, and found the album, and during my guitar lesson that same week I asked my friend and mentor Steve Gibson if he knew about Luther and his band’s treatment of the Floyd.
Steve did not know The Wall specifically, but he was more than hep to Nashville musicians gathering and deconstructing famous albums and bands in a phenomenon known as “pick on,” as in “pick on Aerosmith” or “pick on AC/DC.”
I cannot say that this revisionism is totally my cup of tea as much as I like both the Floyd and blue grass. Clearly these guys are knockout musicians, but I think I actually prefer to hear them cover the Carters and Irish jigs, but just discovering this subculture of music was a kick and a half.
This is Luther’s treatment of my favorite tune from the Floyd album. I still prefer David Gilmour’s chorusy guitar ripping through, but this is still pretty good.