Songs like this make me crazy. It’s only 3 minutes long. I wish it was at least twice that. The title cut of their second album defines The Police at their best. The playing is immaculate, with each member shining equally. And, it proves that there was only one band like The Police – instantly identifiable, especially with Stewart Copeland’s phenomenal opening. That’s not to say that Sting and Andy Summers don’t deliver the goods. In fact, it is such a team effort, it’s one of the very few Police songs with all three members getting a writing credit. It even won a Grammy® for “Best Rock Instrumental Performance.” It’s pretty close to perfection. If only they hadn’t faded it so darn early…
Rene And Georgette Magritte With Their Dog After The War Paul Simon
Label: Warner Bros.
Released: 1983
Paul Simon’s 6th solo album wasn’t supposed to be a solo album at all. Hearts And Bones was originally slated to be a Simon & Garfunkel release, due to the enormous popularity of their Concert In Central Park. In fact, some of its material premiered in their world tour which followed that event. Unfortunately, the “old friends” couldn’t keep it together and the reunion album never happened. So, Simon retooled it himself. He ended up delivering one of his most personal and innovative albums to date. While it wasn’t warmly received upon release, time has shown that the album (and incredible tracks like “Rene And Georgette Magritte With Their Dog After The War”) is one of Simon’s most succinct, daring and essential offerings.
People are always quick to point out the lineage of hitmakers like Julian Lennon, Jeff Buckley or Jakob Dylan. Or Roseanne Cash & Hank Williams, Jr. But, R&B seems to get a bit of a snub when it comes to offspring. Case in point: million-seller Gerald Levert. Not only did he and his brother Sean front LeVert, but they were the sons of O’Jays lead singer Eddie Levert. When Gerald went solo, his first album – Private Line – went platinum and boasted a number of great tracks including today’s DFD selection. And, that was just the beginning of a multi-million selling career. Sadly, Gerald passed away in 2006 – he would have been 44 today. Brother Sean died in 2008. For all the joy & music the Levert family has brought us, while we groove to today’s selection – people all over the world, join hands.
There’s a reason last year’s documentary on Emitt Rhodes was called “One Man Beatles.” His Dunhill albums were written, sung, played and produced completely by Rhodes in his folks’ garage. Initial pressings of his incredible, eponymous debut even had “Recorded At Home” etched into the inner groove of the LP – a fact kept secret initially, as the record business didn’t think “homemade” recordings belonged in stores. Sadly prophetic, that cover shows Emitt in the ruins of a burned out building. His story became another of a genius devoured and destroyed by the music industry. Something you’d hope would never happen to someone who made music this fantastic. If you’re a fan of perfect pop and aren’t familiar with Rhodes, do yourself a favor an introduce yourself. You’ll be glad you did.
Yes, THAT The Knack. Sadly, by the time their brilliant 3rd album was released, their career had been “knuked” and everyone missed out on one of the decade’s best and most diverse offerings. The album was indeed a “trip” – though their trademark power-pop to psychedelia to country waltzes to pure experimentation on tracks like “Africa”. Was it jazz? Was it prog? It was certainly a look into the band’s exceptional talent. The playing is immaculate, the production (from Jack Douglas – fresh off John & Yoko’s Double Fantasy) stellar, and it’s just another leg of the Round Trip you all should take. A bit of interesting trivia regarding the song – The Knack was in talks with an up & coming pair of video directors to shoot a clip for “Africa”, but the band broke up before it could happen. Those directors? Godley & Creme.
Only in the US would a genius like Marc Bolan and his band T. Rex be known as a one hit wonder. The single released after the massive “Bang A Gong (Get It On)” was “Jeepster” – which failed to chart. And, those who didn’t get the LP not only missed out on “Jeepster”, but its flip side, the album closing “Rip Off”. It’s Marc rocking out but keeping it groovy like only the boa wearing, guitar hero he was could. It’s almost punk-rock before it existed and the perfect finale to the ride that is Electric Warrior. Some folks who “got it” were the members of alternative super group Dim Stars, which featured Richard Hell, Don Fleming and Sonic Youth’s Thurston Moore & Steve Shelley. They covered “Rip Off” on their classic 1st EP.
To cover a song well, you’ve GOT to bring some heat to the table. Wilson Pickett was a master of that game. While he was a master songwriter in his own right, the wicked Pickett could make any song his own. Case in point: Johnnie Taylor recorded Isaac Hayes and David Porter’s “Toe Hold” in 1966, but Pickett put his own spin on it for 1969’s Hey Jude album. Maybe it was fuel from his heated relationship with Stax, but Wilson burns this track up. His classic delivery sails and pleads and cuts straight to the core. And, who’s playing that smokin’ guitar? None other than a cat named Duane Allman. On what would have been his 69th birthday, give it up for Mr. Wilson Pickett!
When Clyde McPhatter created The Drifters for Atlantic Records in 1953, no one could have imagined that group would not only create hits for 13 years with the label, but become known as one of the greatest vocal groups of all time. With a virtual turnstile of members, The Drifters had hits with 7 different lead vocalists – one of which being the iconic Ben E. King. It’s hard to believe King’s tenure with the band lasted only 12 months, but two years after his departure, Atlantic pulled a King vocal from the vaults and released “Sometimes I Wonder” in hopes of solidifying The Drifters’ chart presence and perhaps to capitalize on King’s solo success. While this tale of yearning, with a truly impassioned vocal, didn’t chart, all was not lost. That same month the band cut a little track called “Up On The Roof” and The Drifters’ legacy continued.
Film producer Sig Shore brought the world Superfly in 1972. In 1975, he stepped behind the camera for That’s The Way Of The World, a movie that starred a young Harvey Keitel, and featured rising R&B act Earth Wind & Fire. E,W&F played “The Group”, a band caught in the middle of record company politics with Keitel as the producer who believes in and fights for them. And the music. The soundtrack, provided by Maurice White and the band, was released as Earth, Wind & Fire’s 6th album and went Gold almost immediately – eventually selling over 3 million copies. In addition to hits like “Shining Star,” “Reasons” and the title cut, it included dazzling tracks like “Happy Feelin’”, which features Maurice White on kalimba, an African thumb piano. (Kalimba is also the name of White’s production company.) Kalimba is a Bantu word which means “little music”, but there’s nothing little about E,W&F or this song. And, even though the album was a smash, the film disappeared into obscurity. That’s the way of the world, I guess…
(You Gotta Walk And) Don’t Look Back Peter Tosh & Mick Jagger
Label: EMI
Released: 1978
When a national television audience tuned into Saturday Night Live in December, 1978, they not only saw some great comedy, but their perceptions of who and what reggae was may have been both shattered and illuminated. Peter Tosh – an original Wailer (you know, that Marley guy’s band) – had hooked up with the Glimmer Twins (a/k/a Mick & Keef). The result was his third solo album; the classic Bush Doctor. So, that night when Elliott Gould announced the musical guest, it was Peter & Mick, performing that album’s “(You Gotta Walk And) Don’t Look Back.” And, for 5 glorious minutes, the nation understood reggae. It was feel good, introspective and fun. Sure, reggae has presented some of our history’s most potent political thought, but it also gives us real life. And allows us to enjoy it. Even if our eyes are squinting just a bit…
Seriously.How can you not love a song called “Wham Bam Thank You Ma’am”?A decade before David Bowie made it rock & roll vernacular; Charles Mingus featured a track named for a phrase he attributed to Max Roach on a classic album whose other song titles include “Eat That Chicken” and “Oh Lord, Don’t Let Them Drop That Atomic Bomb On Me.” Plus, Oh Yeah featured Mingus, normally a bassist, on piano and vocals.Yeah, vocals.And while Mingus isn’t exactly “easy” by default, this album is – simply put – a trip.“Wham Bam” almost sounds like a Raymond Scott arrangement of a Thelonius Monk Ellington pastiche, performed by Captain Beefheart & The Magic Band.It coasts and swerves but the band never loses grip on the wheel.A musician friend once told me that jazz was more fun to play than to listen to.Maybe, but not this time!
Change is a good thing.INXS were looking for a new direction in 1982 and hired producer Mark Opitz for their 3rd album, Shabooh Shoobah.The result was a worldwide breakthrough.After hooking up with the legendary Chris Thomas, that breakthrough became domination.So, where to now?A decade after the first collaboration, INXS again recruited Opitz, who helped them create the most diverse and arguably best album of their career.From its Eastern-flavored opener to the orchestral closer, Welcome To Wherever You Are is an album full of surprises and textures.But, it isn’t all bells & whistles all the time. The album’s true strength lies in how tight the band is.You can feel it, especially on tracks like “Wishing Well”.The deceptively simple groove slowly builds upon itself, finds its way into your brain and doesn’t let go.And, once it’s done, you find yourself wanting to hear it again.And again.
Meanwhile Back At The Ranch / Should I Smoke Badfinger
Label: Warner Bros.
Released: 1974
There’s always a tendency to look at the glass being half empty when it comes to Badfinger – which is a shame.I mean, there are certainly enough dark parts to their story, but there’s a giant, bright, shining element to the band: the incredible music. 1974’s Wish You Were Here delivered on every promise Badfinger had made up to this point.I would make the argument that it’s their most solid release.There’s not a weak track, and all four members make strong contributions.The LP’s closer “Meanwhile Back At The Ranch/Should I Smoke” features a Pete Ham first half and a Joey Molland wrap-up.(Not to mention the Average White Band horns!)While it’s sadly prophetic that a song with lyrics like this would be the “last” track released by the classic line-up, it’s more revealing and important that it shows them in all their brilliance. So, barkeep, top that glass off.
I’m so glad that before Judee Sill climbed aboard her enchanted sky machine, she left us her exquisite music. Saying “singer-songwriter” or “Laurel Canyon Sound” just doesn’t do her the justice she deserves. Judee was a true original. And, sadly, folks didn’t discover until far too late. Heck , I didn’t – but once I heard her, I felt like so many things from that time period finally came together. Take “The Kiss” – the 2nd song on her 2nd album. It is about as perfect as a song can be. Romantic imagery abounds and her ethereal double tracked vocal almost feels like two lovers professing their undying devotion to each other. Add in her arrangement and orchestration and this song should be a given for every “what song should I use for my wedding?” list. Am I gushing – maybe selling it too much? Listen. Love. There’s a reason bands like Fleet Foxes are covering her now. She’s magic.
While it’s not that uncommon for an artist to produce their own work, it’s rare for a producer to step out from behind the boards and make a record of their own. Mitchell Froom’s Dopamine fits kind of in the middle. He wrote all the music and worked with vocalists like Mark Eitzel, Sheryl Crow, Ron Sexsmith and (then wife) Suzanne Vega who all sang their respective compositions. Froom played a variety of unique instruments like the Marxophone, button cinema organ, and optigan. Tchad Blake was there, along with Attractions Bruce & Pete Thomas, drummer extraordinaire Jerry Moratta, and guitarist Steve Donnelly. “Noodletown” is an instrumental co-written by and featuring Donnelly. It won an Emmy when it was used as the theme for PBS’ Sessions At West 54th, but on its own, it is grainy, black & white exercise in audio-noir. Here’s listenin’ to you, kid.
Remember those “don’t hate me because I’m beautiful” commercials from the 80’s?Well, that’s the bag Steely Dan always gets.Stellar musicianship has always been in the equation, so put away your calculators.The band is named after a dildo for crying out loud – how “uppity” can they really be?Take their triumphant return in 2000.Two Against Nature won a slew of Grammys and many folks moaned.It had been sixteen years since their (brilliant) Gaucho, and folks thought them old and irrelevant.But, if you listen, really listen to tracks like that album’s “Negative Girl”, you might start to get it – and realize time doesn’t matter here.Maybe not at first, because I said they weren’t “uppity” but didn’t say they were “easy”.Yeah – maybe it’s cerebral, but it’s all right in front of you.The SD earmarks are there: fascinating chord changes, intricate arrangements, exquisite playing, and lyrics about lecherous, older men & nubile girls.Oh, and a vibraphone solo.
Q: Are We Not The Ventures?People seem to forget that “Whip It” was from the band’s 3rd album, and before they became synthesizer poster children, Devo were using lots of guitars.Taken from their classic debut, “Gut Feeling” starts off a little like Booker T. and the S.P.U.D.’s, but when the vocal hits, you know you’ve devolved.The track builds and builds until the rockin’ “Slap Your Mammy” coda takes it to a whole different place.One constant about Devo is that you can’t blink – something different is always around the corner.And, if you only think of them as the guys with flower pots on their heads, I’ve got a gut feeling this track will change your mind.
Sometimes a band’s front man gets all the attention and people forget who’s making the noise behind him.And, while bad boy Scott Weiland wrote the music and lyrics to Stone Temple Pilots’ 3rd album’s third track – it’s the band that pushes it to a dangerous place.Dean DeLeo’s layers of guitars are ugly, heavy and insane all at the same time.Dean’s brother Robert’s bass has just enough fuzz to cross the line. I think you can even hear Eric Kretz’s drums cry for help two minutes in.Add in some ridiculous stereo separation and it really doesn’t matter how much of a “song” is actually there.You’re too exhausted from playing “air STP” to really even notice.Despite the album’s title, there’s nothing “tiny” about “Tumble In The Rough.” At all.
Tusk was not exactly the album the public expected. Its first single (the title cut) was about as far away from their previous one (“You Make Loving Fun”) as you could get. History has proven Tusk to be the gem it always was, and while it’s largely known for being Lindsey’s amusement park, it isn’t like the other 4 band members were just carnies. Christine McVie’s “Over And Over” starts the record off with a whisper, but – as you know – a whisper can be much more powerful than a scream. It builds like the first hill of a roller coaster. Taking you up – safely, slowly, but surely. After Mick’s fill around the 4:00 mark, you close your eyes, smile, raise your hands and anxiously await the twists and turns to come. And, it’s a hell of a ride. Happy 30th Anniversary to a great album.
Little Trip To Heaven (On The Wings of Your Love) Tom Waits
Label: Elektra
Released: 1973
Before Tom Waits sounded like the crazy neighbor screaming and banging on his trash cans to keep you from grilling on Thursday, he had a different delivery. His debut – Closing Time – is a flawless album that was made for CD, simply because you shouldn’t be able to get up and flip it over. You should be a wreck halfway through Side One if the bartender and your heart are taking care of you. There’s a different emotion at work here, and you’ll never have enough cash to stuff in the tip jar on his piano. “Little Trip…” is an exquisite love song that comes near the end of the night, and to prove how beautiful it is – it was the first dance at my wedding. Thank you, Tom Waits – you magnificent bastard.
They say that imitation is the sincerest form of flattery. So, what happens when you’re so unique and distinctive you can’t be imitated? Where do you get some love? Lindsey Buckingham rarely makes those “best guitarists” lists, and while most of them are ridiculous anyway, it’s his constant omission that proves that point. Under The Skin was Lindsey’s first solo album in 14 years, and its sound and general feeling seemed almost a reaction to everything we’d been through with him for the past 30 years. Only this time, there was no studio wizardry, no marching bands, no lo-fi experiments. The stars of the album were Lindsey and his guitar. You know, that guitar everyone seems to forget about. See, the thing is, even when covering a 40 year old Donovan single like “To Try For The Sun”, Lindsey can take anything and make it his. Make it unique. Make it beautiful. So, stick that in yer list and file it.
Many of the folks who were banging their heads to 1989’s The Real Thing were found scratching them when Angel Dust hit the shelves. Fresh off a reunion with his old band, Mr. Bungle, Mike Patton took Faith No More and their fans on a detour that would forever change the rules for what a Faith No More album could be. The record itself ran the gamut—from Kronos Quartet samples to a faithful cover of the Midnight Cowboy theme. But its sixth track, “Everything’s Ruined,” stands as one of the album’s high points. Patton’s vocals grunt, growl, and soar concurrently and you’re never quite sure if it’s the piano, the guitars, or the drums that are actually in the driver’s seat. The one thing you do know is that it’s a pretty awesome ride. Buckle up, kids.
It seemed like after three double albums and a four-record live set, Chicago were taking it easy on their first single LP. Even the wood-etched logo on the cover almost spoke of more “rustic” fare inside. Nope. The opening track from the group’s first #1 album ripped through the speakers with Terry Kath’s guitar crunch and Robert Lamm doing his best Jon Lord. (Hey, did someone stick their copy of Deep Purple In Rock in my Chicago V sleeve?) Much like the work of the 20th-century composer whose name graces the title, the song reveled in Edgard Varèse’s concept of “organized sound.” Building and driving and swirling and relentless (how about that horn slide at :41?), “A Hit By Varèse” is indicative of what people forget about Chicago. They rock.
There are songs that pleasantly pass by and others that make you stop what you’re doing, inhale deeply, and just listen. This instrumental from the Doobies’ fifth album, Stampede, is one of those numbers. Pat Simmons penned the short but sweet tune and it has been a concert staple for the band ever since. Interestingly, the song’s correct title—“Slack Key Soquel Rag”—would not be seen for over 20 years, until the track was included on 1996’s Rockin’ Down The Highway—The Wildlife Concert. Even its appearance on the band’s 1983 Farewell Tour LP still carried the “Slat.” But, who really cares? It’s beautiful however you choose to spell it. Okay? Now, exhale . . .
The playwright Anton Chekhov insisted that the role of an artist was to ask questions, not to answer them. And much like in one of his plays, The Roches are three sisters looking for meaning in the modern world. This super-cool closer from their third release adds album producer Robert Fripp and his King Crimson bandmates Tony Levin and Bill Bruford. The Roches handle the acoustic side of things. Their vocal acrobatics and trademark harmonies sit perfectly atop the electric soundscape generated by their guest trio in what almost feels like a perfect mash-up created decades before such a thing existed. Folk-prog, anyone? Suzzy-tronics? Well, whatever you want to call it, it works. Perfectly.
