Very shocked to read this morning that Jeff Beck has passed away after suddenly contracting bacterial meningitis. I don’t often do these memorial type posts but Jeff Beck was simply one of the greatest players to pick up a guitar.
As another such great, David Gilmour said: “I am devastated to hear the news of the death of my friend and hero Jeff Beck, whose music has thrilled and inspired me and countless others for so many years … He will be forever in our hearts.”
As I mentioned back in my 20 Guitarists List: it’s impossible to think of a player that’s dabbled in so many different genres and had such a long successful career. While I’m not a fan of all of it – most recent outings included – the constant throughout is just how astoundingly great a guitarist Beck was. From stepping into Clapton’s shoes in the Yardbirds and transforming that band, a brief silver-lined foray into playing ‘pop’, the Jeff Beck Group and Truth to mountains of solo work that changed genre more often than Madonna changes her face – Beck remained one of the best players out there.
Oddly, despite finding pictures of him throughout the biogs of musicians various (whether running down a riff backstage with Joe Perry, debating with Jimmy Page or sharing a laugh with David Gilmour it was clear the ‘guitarist’s guitarist’ tag was applicable) his massively varied and world-travelling career, I always thought of Jeff as the ‘local guitar god’ as, despite being born in South London he’d lived not too far from where I sit and type these words and, later, only a (admittedly pretty impressive) stone’s throw from my office having moved to Wadhurst in East Sussex.
According to search results various, the bluebird has been a ‘harbinger of happiness’ for thousands of years. Said bird reminds us not to lose hope in the face of an adversary and not to let go of the joy even in the direst times. Lovely stuff.
For me, Mojave 3’s ‘Bluebird of Happiness’ is one of those magic songs. You know; one of those songs that connects on a different level to other tunes, automatically fires of an emotional response for reasons you may never fully understand and, frankly, probably don’t need to.
“Who are Mojave 3?” I hear imagine you asking. After the critical spin and uppercut that felled the shoegaze scene* the ridiculously wonderful Slowdive were dropped by Creation just a week after the release of their fifth album, Pygmalion** -also ridiculously wonderful. Members Neil Halstead, Rachel Goswell and Ian McCutcheon switched direction a little, following the more ambient leanings Halstead’s writing was already taking and throwing dream pop with a bit of folk and country rock into the mix. By the time of the band’s fourth album Spoon and Rafter in 2003 they’d added keyboard player Alan Forrester and ex-Chapterhouse guitarist Simon Rowe and were leaning more into dream pop/alt-country elements with a sound not a million miles away from Mercury Rev.
Neil Halstead – as borne out by his solo work as well as Slowdive and Mojave 3 – is a songwriter who places emphasis on arrangements and layers. Spoon and Rafter is full of examples of just this approach but no song more so than the 9:15 opus ‘Bluebird of Happiness’ with its multiple parts gently transitioning into each other, Halstead’s vocals remaining calm and measured against a mesmerising backdrop that at turns rises to guitar-driven chorus and falls back to piano lead reflective chill.
Anyway, back to that magic stuff… From the second I hear those opening ambient sounds (there are some birds in there, some whispered vocals) and piano notes I feel a sense of calm wash over me and when those nine minutes and fifteen seconds are up I feel lighter and at peace, if only for a little while. I don’t think you could ask for more from a song, really.
Mojave 3 would release one further album – 2006’s Puzzles Like You – before dropping into hiatus for a couple of years ahead of a touring comeback in 2011 though any music they may have recorded after that has yet to see the light of day. Halstead and Goswell both kept busy with solo work until Slowdive reunited in 2014 with a new album following in 2017*** and another currently in the works.
In what feels like a fitting post to follow my take on Springsteen’s The Legendary 1979 No Nukes Concerts, I’ve been thinking about live albums of late.
A friend and I have been debating their merits – his ‘no-thanks’ take on them driven by the fact that ‘you don’t get the same vibe as actually being there.’
I can understand that. But – is that really their purpose? I’ve got a lot of time for live albums – there are a lot of artists that really deliver the goods in concert more than others and more than they do in concert. They’ll throw their all into a show and there are plenty of live albums out there where that’s evident as well as the fact that a song performed live is often a different beast to that which graced a studio album. Not only that but there are many bands out there that I’ll never get a chance to see or shows I could never have been at.
Here I can quickly point to two staples of this blog – Springsteen and Pearl Jam, both of whom are renowned for their live shows with both (Springsteen only more recently) performing a different set list every night. Foo Fighters, by contrast, played an identical set (including the rehearsed ‘banter’) night after night.
Whereas once upon a time the live album was once a staple, if contractually obligatory, of many a rock band’s discography we now find ourselves in an era of Nuggs (or whatever service they chose to use) means that almost every show from a tour and many archival individual shows are available to fill up our iPods. Does the traditional live album, then, still have value?
I reckon there’s still a place for it. At least there is within my shelves – digital and physical. While it’s great to have a document of a specific concert – especially if you were there, say – it’s also great to have a live collection from a band at the peak of their power without, say, the mistake they made in the pre-chorus of a song that forced them to restart or a location-specific anecdote, as well as the mastering (not remixing, mind – I’m looking at you Van Halen) that an official release can give. Without having to pay a fortune for a pint of piss-poor beer, swim to the toilet or wonder if you need to duck out during the encore to get the last tube.
With all this preamble in mind I thought I’d take a butchers at some of those live albums that I would say are definitely worth giving a listen to, old and new.
Bruce Springsteen & The E Street Band: Live 1975-85
Keeping it Boss for another moment… Bruce’s first official live album was a suitably hefty 5LP / 3 CD / 3 Cassette beast that covered Springsteen and the E Street Band’s journey from theatres to stadiums across 40 songs. Springsteen had developed a reputation as a live performer and this set delivers upon that and then some – it’s a great listen even close to forty years on, even hearing his earnest story-telling ahead of ‘The River’ as he works to instil a sense of intimacy to the stadium-sized crowd still works and while he could easily have created another similarly-sized instalment to cover the decades since I don’t think (save a few obvious titles) you could want anything more than what’s here. It remains an unimpeachably great snapshot of Bruce and the E Street Band’s powerful peak and sounds as vital now as it did then.
Nirvana – Live at Reading
Nirvana’s second visit to the Reading festival was the stuff of legend even aside from the actual show itself. This was 1992, mind, when the Kurt ‘n’ Courtney show was dominating press coverage – there were rumours that the band wouldn’t show. That the band were on the verge of breaking up, that Kurt’s heroin addiction was so bad he was close to death (both rumours sadly not that far from true)…
Playing to this, Kurt took to the stage in a wheelchair. Wheeled on and wearing a hospital gown and wig, sang a few lines of ‘The Rose’ and collapsed before getting to his feet and the band delivered one of their most intense and powerful sets to date. Yes, there’s no way to capture being at that show – I hold that for every dozen or so people I’ve met that claimed they were there only two are probably telling the truth – but, fuck me, this is one hell of an amazing live album. The band seem to be giving it everything as a middle finger to the rumours and the setlist is everything you’d want, covering nearly all of Nevermind, plenty from Bleach and a few new songs that would later grace In Utero and is the superior live Nirvana document to From The Muddy Banks of Wiskah.
Johnny Cash – At FolsomPrison
This one’s got to be a given, right? Johnny Cash’s first live album, a career reviving release that starts with the now famous ‘Hello, I’m Johnny Cash’ and finds the then relatively-clean Cash singing songs like ‘Folsom Prison Blues’, ‘Cocaine Blues’ and ’25 Minutes to Go’ to an audience of convicts in a prison canteen that Cash would later describe as “the most enthusiastic audience I ever played” – lapping up every line like ‘I can’t forgot the day I shot that bad bitch down’ like it was written for them. While At San Quentin recorded the following year would have ‘Boy Named Sue,’ this album combines Cash’s strongest points – grit, balladry, the spiritual and humour – into one setlist that while tailor-made for his audience and became the stuff of legend.
Mogwai – Special Moves
As a live band, Mogwai are one of the loudest out there. While they shy away from being branded as post-rock, their predominantly instrumental music takes its cues from a myriad of influences including bands like Loop, My Bloody Valentine and Slint – intricate pieces that build up layers and parts and not play with the quiet-loud-quiet- FUCKING INSANELY LOUD dynamic but own it. I’ve just finished Stuart Braithwaite’s fantastic memoir ‘Spaceships Over Glasgow’ which revealed – amongst other things – the level of nervousness with which he’d play gigs, hoping that the bands head-nodded signals would work when it comes to bringing in the different parts of each song, finding a sound-guy that could sufficiently mix them at the level of noise desired and joy they take in a set when it all clicks.
The New York shows captured on Special Moves – in terms of both setlist and the power of the performance – are as ideal an introduction to and one-hit slab of Mogwai you could ask for. It’s perfectly mixed – balancing all the elements of their music with a smattering of crowd noise to let you know they’re there and capturing the extremes of their sound (the pin-drop silence to absolute wall of sound in Mogwai Fear Satan, for example) perfectly.
Neil Young and Crazy Horse – Weld
Speaking of wall-of-sound…. Neil Young has got quite a few live albums out there – while Time Fades Away and Rust Never Sleeps were made up of entirely new songs and Live Rust felt like a bit of a cash-grab, Weld is the real deal for me and the more I explore Mr Young’s back catalogue the more I enjoy it. A live document of Young and Crazy Horse’s tour to promote Ragged Glory (my current favourite of Neil’s albums), it’s a ridiculously heavy document of the Horse in full gallop and blasting through some of Ragged Glory‘s highlights like ‘Fuckin’ Up’ and ‘Love To Burn’ along with storming takes on ‘Cinnamon Girl’, ‘Powderfinger’, the then-recent ‘Rockin’ In The Free World’ and a blazing cover of Dylan’s ‘Blowin’ In The Wind’.
Gary Clark Jr – Live
This is one of those examples where someone comes across so much better live than on record – to my ears at least and this is my blog, after all. I’d seen the praise heaped upon this enough to be curious and since picking it up it’s been a regular spinner. Having been compared to the mightiest of guitar slingers like Hendrix and Stevie Ray Vaughan, Gary Clark Jr has both that glorious blues tone and dexterity to make his performances addictive listening while also flowing in a touch of soul and hip hop. On record the combo doesn’t really come across so well with his playing taking a back seat too often to slick production. There’s none of that on 2014’s Live – a mix of originals and covers shed of gimmickry and just highlighting how great and in-focus performance he – and his band – can deliver.
My Morning Jacket – Okonokos
The band captured following the peak of the mighty Z album deliver a brilliant set to a crowd at The Fillmore in San Francisco. While the recent compilation Live Vol. 1 adds newer songs to the mix and further cements how great a live draw the band are, Okonokos captures the band in all their intense power, it’s heavy on Z material with eight of its ten songs gracing the set and showcases the band’s musicianship and a rare ability to both jam out and deliver tight, focused performances.
Jeff Buckley – Live at Sin-é(Legacy Edition)
Jeff Buckley left us with just the one studio album before he took his fateful swim in 1997. His first release for Colombia, though, wasn’t Grace but the Live at Sin-é EP. The EP was just a four-song set was released to draw attention to the power of Buckley’s voice. The full set, released ten years later, instead gave us a captivating and wonderfully intimate (you can even hear the odd clink of coffee cups) performance of some twenty plus songs interspersed with monologues and jokes – we get works in progress of songs like ‘Grace’, ‘Last Goodbye’ and ‘Mojo Pin’ along with covers of Led Zeppelin, Dylan, Nina Simone, Van Morrison and, of course, his take on ‘Hallelujah’ all armed with just his voice and a guitar. For a small coffee house show, Buckley commits fully and for all the myth and mystery that’s build up over the years since his passing, it’s a beautiful document of pure talent and the enjoyment of music.
Bob Dylan – The Bootleg Series Vol.4: Live 1966, The “Royal Albert Hall” Concert
First – it wasn’t captured at The Royal Albert Hall, it was Manchester’s Free Trade Hall. It was mislabelled in the bootlegs that so pervaded before its official release. in 1998. It was so extensively bootlegged because it was both a brilliant show and, secondly, the “Judas!” concert.
All these years later it’s hard to conceive of the upset Dylan’s ‘going electric’ caused his folky faithful. Through his 1965-66 tour Dylan would perform a show of two halves: the first alone and the second with his backing band The Hawks for an electric set. Both the heckle and Dylan’s brilliant response – “I don’t believe you…. you’re a liar” – along with Dylan’s instruction to the band to “play fucking loud!” into ‘Like A Rolling Stone’ are captured here along with a fantastic performance of fifteen brilliant Dylan songs that are all worth the price of admission alone and captured with brilliant sound quality.
If you don’t trust my opinion on this, take it from Jimmy Page too – he found the bootleg to be the ultimate album and would buy a whenever he found one.
Some honourable mentions and few additional thoughts in place of a tenth for the list…. I’ve only recently begun listening to the Allman Brothers Band’s At Fillmore East but it’s a mighty fine thing…. The Clash’s Live at Shea Stadium is a great listen too but a little stiff in parts, capturing them opening for The Who – who’s Live AT Leeds is pretty decent too though I’m not that big a Who fan. Dire Straits deserved better representation than the too-short Alchemy and too-sterile On The Night while one of the best bands I’ve seen live, Pearl Jam have yet to drop a live album that really captures how arse quaking they can be live though Live On Two Legs tries and the same could be said for Pink Floyd – Pulse is another case of too much gloss and The Delicate Sound of Thunder features both an excess of gloss and an excess of songs from A Momentary Lapse of Reason.
In the wake of the Three Mile Island accident two things happened in the Springsteen universe.
The first immediate result was his writing of ‘Roulette’ which, while it would be the first song recorded during The River sessions, would languish in b-side status until appearing later on both Tracks and The Ties That Bind. It’s a belter.
The second was the formation of MUSE – Musicians United for Safe Energy and the organising of five ‘No Nukes’ concerts at Madison Square Garden. Not yet particularly active or even vocal when it came to politics, Bruce wasn’t among the founding members. Nor did he attend press conferences or issue a statement on nuclear energy. He did, though, agree to perform at two of the shows and for those shows to be filmed and recorded.
I’m adding this historical context for a reason. The Bruce Springsteen of 1979 was not the Springsteen today – or even of six years later following Born In The USA – in terms of status but he was very much a rising star with both Born To Run and Darkness On The Edge of Town behind him and live shows that were already becoming the stuff of legend.
This is Springsteen before the stadium era. Before, even, The River and ‘Hungry Heart’ – in fact Bruce and The E Street Band weren’t on the road at the time, they’d spent most of the year working on an album called The Ties That Bind that Springsteen was to throw away in favour of going for the double with The River (though you wouldn’t know it from the performances captured on those evenings). Nonetheless, tickets to Bruce’s headlining nights sold out within an hour.
One final piece of context is that the full The Legendary 1979 No Nukes Concerts recording arrived at the end of 2021. A timely reminder of the power of Springsteen and the E Street Band when any plans for touring had been on hold for two years, forty two years after the event.
Given that it arrives so long after the fact and in an era where so many entire concerts are available from Springsteen – not to mention his already extant six official*- you’d be forgiven for questioning whether this was needed. I’m here to say it is, it’s an essential piece in the canon
This isn’t so much a review because, let’s face it, I’m late in the game here and this one has already hit the high notes with the critics. This is more.. personal reflections after a good month or so of repeated listens.
One of the things that springs to mind when it comes to Springsteen’s shows these days has got to be their marathon length. Granted 1979 Bruce didn’t have quite the staying power but his shows were already clocking pretty long times. The idea, then, of condensing a Bruce Springsteen and the E Street Band show into just ninety minutes can’t have been an easy order – hell, I reckon it must’ve been easier planning the 12 minute half-time show than making the choice for the No Nukes setlist.**
The timing restraints are kinda felt at times. Prove It All Night, for example, is shorn of its then-customary elongated intro and Born To Run particularly feels squeezed for time – it barrels past in less time than the album version*** – and there are moments where the need to keep songs tighter than a duck’s arse and keeping a proverbial eye on the time means Springsteen seems a little out of breath as the shorter-than-usual arrangements give him less opportunity to catch a breather between bars.
But these are more observances than faults because, frankly, there aren’t any to be found after repeated listens because the overall sensation is of a joyous celebration of Bruce Springsteen – and the E Street Band – being captured at full gallop on their early peak. Even a condensed blast of this power-house operating at such peak performance is better than so many others.
And while Born To Run may be sprinted through, Rosalita (Come Out Tonight) gets to stretch its legs out over 12 glorious minutes complete with band introductions.
There’s a strange delight in hearing Springsteen – who’d celebrate his birthday the night following these shows – refer to himself as ‘over the fucking hill’ and that, turning the age of 30 meant he could no trust himself anymore (especially as this now reach us with Bruce in his 70s and still delivering) after delivering both the one-two-three punch of Prove It, Badlands, The Promised Land and then-new song The River.
It’s an added delight to hear The River rolled out for the first time and not have the first few blows on the harmonica not greeted by the rapturous applause they’d soon be greeted with forever out.
The setlist is pretty unimpeachable too. While, with an hour and half only to play with you could lean to wanting, say, an Adam Raised A Cain or Candy’s Room or even a 10th Avenue Freeze Out in place of the three covers that end the show but Bruce was already throwing his Detroit Medley and Quarter to Three into his sets and using them to work the crowd up into a final frenzy and in the context of making an impact and bringing the audience to its knees – they do a brilliant job.
The whole album is a blast to listen to. Peak Bruce Springsteen and the E Street Band will never disappoint and while there are plenty of single-show recordings out there, you’d be hard pushed to match this in terms of quality.
*as in bearing the Colombia logo vs Nuggs or whatever it is these days.
**both nights featured identical setlists save the inclusion of ‘Rave On’
***a chunk of the credited 4:59 is dedicated to applause.
The best laid schemes o’ mice an’ men. Gang aft a-gley… it seems each time I build up a head of steam on here the train falters just a few miles out of the station.
But let’s persevere, shall we, and slip back in by commencing another week with a summary of those songs that have been getting some love from my ears of late.
Exxasens – Le-Voyage, Pt2: (Back to Space)
There’s a wonderful, rich seam of post-rock in Spain. Bands like Toundra, Astralia, Audiolepsia and, of course Exxasens are regular spinners for me. I particularly love those bands from the Catalonia region – to my ears there’s something more of the melodic bent to their brand of post-rock and Exxasens, from Bareclona, typify this beautifully. Plus, a lot of their releases are space-themed and I do love a bit of the space race. This is from their gorgeous new album Le-Voyage.
M’dou Moctar – Chismiten
Thanks to tuning in to The Rough Guide to Desert Blues – courtesy of 1537’s reminder to do so – songs like this often slip into one of my Spotify play lists and this one really made me sit up and pay attention. M’dou Moctar is a mean Tuareg guitarist and his brand of Saharan rock / desert blues just soars… it blows my mind sometimes how music of this calibre comes from places you might least expect it.
James McMurtry – Canola Fields
Changing gears pretty sharply here… you know when a monarch slips this mortal coil the radio stations here have to change gears too and adopt songs from a more suitable sombre tone, pre-approved play list. The commercial stations also have to do away with adverts – whether this is a requirement or because maybe hearing that prick James Cordon enthusing about their printer’s ink coffee during a period of ‘national mourning’ isn’t the image McDonald’s wants I don’t know. However, it does mean I both listen more to stations I wouldn’t normally and tend to hear those tunes that wouldn’t get much airplay usually. Driving back from some rave in an aircraft hanger or massive acid bender somewhere during that period I flicked the radio over and caught this one and was hooked. More specifically I caught the lyrics, the moody tone and the guitar work and was hooked. Alt.Country has often throne up some fucking great lyrics (see Bill Mallonnee and the Vigilantes of Love’s ‘Resplendent’) and this is another prime example of how to get across a novel’s worth in a song without over stuffing the sandwich – due diligence later on enjoying the album of the same name revealed the James is the son of writer Larry McMurtry so it’s clear where the story-telling gene comes from.
Cassandra Jenkins – Michelangelo
Speaking of bruising guitar tones…. the combination of Cassandra Jenkins’ vocals and that tone on this one caught my ears on one of those ‘Best of 2021’ comps that I dug out of the door bucket in the car and slipped on whilst drunkenly careening down country lanes after an all-night booze-up. Her album An Overview on Phenomenal Nature is one I’d missed entirely last year but have been enjoying lately – the variety of styles, all underpinned with Jenkins’ voice and great performances – makes for a real enjoyable spin.
The Hold Steady – Denver Haircut
The Hold Steady’s return, and return to form, had kind of been unnoticed by me but I’ve been belatedly really digging their last two efforts – Open Door Policy and Thrashing Thru The Passion – and while the ‘indie’ scene seems to be overrun by sprechgesang of late it’s a timely reminder that Craig Finn had been effortlessly putting lyrically dense narratives against some blistering riffs long before it was the cool thing.
The War On Drugs – Oceans of Darkness
Last year’s I Don’t Live Here Anymore was another slab of perfection from The War On Drugs. Unfortunately they’re signed to a massive label which means that its success warrants a ‘deluxe edition’ re-release less than a year later and, as if to excuse such a step, they’ve included a new tune. Still, that’s what streaming is for. It’s a bloody belter though and shame it wasn’t included first time round.
The Beatles – Taxman (2022 mix)
Paul McCartney once said “I’m not signing that, that’s disgusting. Put it away.” He also, apparently, said no to helping George Harrison with the lyrics for ‘Taxman’ so Lennon – who wasn’t involved with either heroin or Yoko at this point – did. Since spending time with ‘Get Back’ I’ve been enjoying The Beatles more than before and while I’m not about to go out and drop any money on the upcoming massive archival release of Revolver (my favourite Beatles album) I will be enjoying nuggets like this as they pop up on the streamers.
The French love their language and have laws to protect it. The Toubon Law, from 1994, mandates its use not just in official government comms (which you’d kind of expect) but also in the likes of adverts – most of which seem stuck in the 1989/1990 vibe anyway – and other commercial communication.
This extends to radio, with an oft-rebelled against rule that 40% of the songs that are played must be performed in the French language. I guess the thinking is that if ‘the kids’ only hear Americans singing about California they’ll forget their own language. Now this isn’t always a bad thing as there’s plenty of good French music out there lately – see my last post for an example – but it also means that if, like I did and – signal permitting still do – listen to, say, RTL2 for any protracted period you’re likely to hear too much ‘chansons’ music.
So where am I going with this…. well, the French love a bit of Placebo as Belgian-born Brian Molko speaks the language fluently. It also means they can play Placebo’s ‘Protège-moi’ as part of the aforementioned quota while also playing a contemporary international band. Hearing this version of ‘Protect Me From What I Want’ along with cuts from their latest, Never Let Me Go, has given me the impetus to run up a few of that band’s best and revisit since shaming them some time back in a ‘Then and Now‘ post.
Placebo formed in London in 1994. They’re currently made up of just the two members – singer / guitarist Brian Molko and bassist / guitarist Stefan Olsdal and missing a drummer. It wasn’t always this way: their longest-serving drummer, with whom they recorded their better albums, left in 2007.
Teenage Angst
From Placebo’s self-titled debut 1996 album.
You Don’t Care About Us
Without You I’m Nothing, Placebo’s second album remains their crowning glory if you ask me. It’s damn-near faultless and remains on regular rotation nearly 25 years on.
Without You I’m Nothing feat. David Bowie
Their second album is so good I’m throwing in another cut, the title track, albeit with a version that differs from the album version as David Bowie approached them to collaborate after the thing was recorded and released. /p>
Meds
Skipping a couple of albums – Black Market Music and Sleeping With Ghosts – where they went off the boil a bit to 2006 and the title track from their last album with drummer Steve Hewitt in which they seemed to have rediscovered some drive and consistency. While not their strongest it was their best in eight years.
Try Better Next Time
Getting in the DeLorean for an even bigger jump this time to 2022 with a song title seemingly taken from my response to the albums they’ve dropped in the last sixteen years… Never Let Me Go oddly feels closer to Meds than anything between. It would seem that the six years they’ve had between albums has allowed them to rediscover a spark that was missing for quite a while now, the songs are leaner and pack more wallop and there’s not a lyric as disastrous as ‘my computer thinks I’m gay, I threw that threw that piece of junk away, on the Champs-Elysées’ to be found anywhere, thankfully.
Bonus tune…
Johnny and Mary
Yes I’m throwing in a cover. Back in the days when singles were something other than an individual stream, Placebo would add either a couple of cracking b-sides or covers. While their take of ‘Running Up That Hill’ gets the most plays we’ve probably all heard enough versions of that one lately so I’ve gone for their cover of Robert Palmer’s classic that accompanied ‘Taste in Men’, the lead single from their third album.
Time slips away… this blog has been a little abandoned again of late though this time it was down to actually taking as much of summer off and away as possible and taking a little drive down to, and around, the South of France to soak up some sun and explore.
However, as term starts and the rain is slowly filling up the pond in my front garden that had been pretty much emptied by the summer’s draught, it feels like a good moment to take stock and shake off some dust with a quick punt out of those songs that I’ve been enjoying of late.
Bruce Springsteen – Hey Blue Eyes
As I pull together some pieces for another Bruce series I find myself listening to this more and more. American Beauty was an EP put out for RSD back in 2014 and this track – an off-cut from previous sessions with Brendan O’Brien is one of those nagging, seemingly-simple songs which highlights just how effective Bruce can be with something that he decides isn’t an ‘A’ tune and ends up being released, essentially, as a b-side (think ‘Shut Out The Light’ and goodness knows how many others).
Foo Fighters – Band on the Run
On the subject of RSD releases… The Foo Fighters put out Medium Rare – a thirteen song strong collection of covers – for Record Store Day back in 2011 and I’d been after a copy for a while. The Foos were always a delight when cutting loose on a cover, combining their increasingly tight chops with their tongue-in-cheek approach makes for a cracking listen. So I was pretty chuffed to find a mint copy in a record shop in Avignon which promptly left with me. Along with the likes of ‘Darling Nikki’ and ‘Baker Street’, this is a pretty strong example and seems fitting to slip on here after this weekend’s Taylor Hawkins tribute concert.
Adé – Tout Savoir
Driving around for two weeks listening to the same radio station means you’re gonna hear a few songs played a lot especially if they’re big. Along with Sting’s ‘Rushing Water’ and a few others, Adé’s ‘Tout Savoir’ has been firmly lodged in my ears but it’s one that I continue to enjoy, it’s pretty upbeat with a decent melody and offers more than your usual pop radio fodder.
Larkin Poe – Hard Time Killing Floor Blues
Every now and then the boy will request ‘Planet Rock’ on the car radio. Sometimes I’m not in the mood as there’s only so much leather waistcoat music I can take but his recent request caught something called something called ‘The Blues Power’ show and made for a pretty decent drive and this one ended up lodged in my head. I don’t know much about Larkin Poe other than it being fronted by two sisters but I’m enjoying this one plenty of late.
Christone ‘Kingfish’ Ingram – Long Distance Woman
Keeping that blues crunch vibe going, I caught this guy’s name being mentioned in high esteem in various print / online music chats and was pretty impressed when I checked out his stuff – this dude can play and he’s only in his early twenties (though he could probably benefit from a salad or two). This is form his second album 662 which I’ve been joyously powering through lately. He does a great take on ‘Hey Joe’ too that’s all over YouTube.
Ryan Adams – Rollercoaster
While the music press and industry are still keeping Ryan Adams on the naughty step, he’s remained busy with some sell-out shows and a tour on the way as well as continually releasing albums and a prolific rate with three albums, two of which are doubles, in 2022 alone, that continue to mix his stark acoustic works with that golden late-80s vibe which he’d started to perfect with Prisoner. ‘Rollercoaster’ is taken from the middle of this year’s three albums, Romeo and Juliet.
Pixies – Vault of Heaven
Hey! The Pixies have got a new album coming out soon that’ll mean they’ve released as many albums since reforming as their original run. While you can’t expect another Bossanova or Doolittle, they’re sounding increasingly comfortable and stretching out with increasingly strong and consistent albums. If this song, about the time Frank Black joined Mark Knopfler’s band I think, and previous ‘There’s a Moon Out’ is anything to go by, Doggerel is gonna be another belter.
I spent a good chunk of time yesterday evening sat on the grass listening – from outside of the festival grounds – to a Sting and The Police tribute act (The Rozzers). Regular readers will know I have a fondness for them that only seems to grow as I get older. Hearing some of their classics played out at such volume by a very accomplished band was actually more of a treat than I was expecting it be and reinforced to me just how many great tunes those three chaps put to tape (we wandered away once they started with ‘Fields of Gold’ – there’s only so much vomit you can get in a bucket after all).
In their relatively short nine year original span they put out five albums of increasing depth that saw them get better with each outing before the inevitable inter-band tensions arose and Sting’s ego grew so large that it become self-aware, ate Andy Sumner and made a drumstick-kebab with Stewart Copeland and convinced The Artist Formerly Known As Gordon that jazz was the way to go (that’s if Wikipedia is to be believed). It’s often been suggested that if they’d been allowed to have a bit more time off between albums that they would’ve been around longer but there’s both that thing about hindsight and the fact that A&M had money to be made there and then.
While Sting may have struggled with truly strong lyrics – see Aphoristic’s brilliant take on this – the trio always had a knack for creating great tunes, surging out with the energy of the punk scene with genuine musicality and some brilliant song dynamics.
So, without a red dress in site, here are five crackers from The Police which, conveniently, seem. to have fallen as one from each album.
Truth Hits Everybody
Message In A Bottle
An obvious choice, perhaps, but it doesn’t mean it’s not a cracker.
Driven To Tears
Every Little Thing She Does Is Magic
I still think it’s the most wonderful gear change in music and, for once, Sting’s lyric ‘and ask her if she’ll marry me, in some old fashioned way’ is pretty decent. Shame about that Sandra Bollox movie
Synchronicity I
The Police’s later career is where you’ll find most of my favourite cuts. I named Synchronicity my choice for 1983 in the (currently on hiatus due to artistic differences) Albums of My Years series – for me they were at their peak and as both a title track and album opener this is a corker and shows how far they’d come.
Time keeps on slipping, slipping slipping… between posts and while I debate moving another Springsteen series from notebook to keyboard it felt an opportune moment to deposit a selection of those songs that I’ve been enjoying of late.
Built to Spill – Spiderweb
While gaps between Built To Spill albums seem to get longer each time around, When the Wind Forgets Your Name – due in September – is one I’m really looking forward to, Doug Martsch’s guitar playing continues to delight.
Big Thief – Not
Dragon Warm Mountain I Believe In You is easily one of this year’s finest but 2020’s Two Hands still rewards on repeated listens.
The Cure – Doing the Unstuck
Another instance of an anniversary reissue reminding you of the unstoppable march of time… The Cure’s unimpeachable Wish turns 30 this year. Not only does this mean I’ll be able to add the vinyl to my collection without forking out the ridiculous asking price for an original copy but it also means I’ve been joyfully spinning the CD in the car this last week.
Pink Floyd – Dogs (2018 Remix)
After seemingly setting aside their bickering (at least about this subject), the much-touted remix of Animals is almost upon us. How much it adds to an already exceptional album is gonna be one for debate by other people but I’m loving the new cover art.
Rickie Lee Jones – We Belong Together
It’s just an addictive classic. That piano, her voice, the vibe… I could soak in it on repeat all day long.
The Shipping News – Axons and Dendtrites
Flies The Fields is a brilliant album – from the wave of post-rock that was still in thrall to Slint rather than Godspeed! – but this, the album opener, remains a firm favourite that I’ve been replaying a lot recently after catching its use on screen in something that now escapes me.
Billy Joel – New York State of Mind
Speaking of ‘that piano’ and catching things in use on the screen… someone recommended The Boys to me and I ended up bingeing my way through the lot and, for those unfamiliar, Billy Joel features heavily – though not this song. This song ended up in my head after my son was spinning his The Muppet Show 2 album recently which features Floyd’s cover. From there it was a ‘now let’s hear the original’ – easily one of Joel’s finest (of which he has many).
Here we go then – down the last five, the cream of the crop, the Harrisons of the group, the Toxic Twins’ most… toxic? Aerosmith’s top five albums in my Least to Most favourite order:
Permanent Vacation
I’m trying to avoid repeating what’s either well-documented or common knowledge at this point but it’s impossible to mention Permanent Vacation without mentioning that this Aerosmith’s big, balls-out, no holds barred attempt at a comeback after both the disappointing reaction and sales garnered by their first album for Geffen, Done With Mirrors.
Between the two albums lay both an unexpectedly massive cross-over hit courtesy of their Run-DMC and getting clean – a process well documented with Tyler and Perry’s books along with the band’s ‘Walk This Way’ detailing the process in surprisingly open detail for those interested.
That means Permanent Vacation was the first time the band recorded free of any drugs – they were already baby-stepping their way in on their first – and clearly working hard to get back to the top.
There are negatives to this album – the over-wrought production courtesy of Bruce Fairbairn, the plethora of outside songwriters (apparently Holly Knight’s sole contribution was changing ‘Rag Time’ to ‘Rag Doll’ – bing, bang, boom ‘hit’ and songwriting-credit)… but, but BUT. I slipped this cd into the car for the first time in a while recently and it’s still a fucking fun record. It positively stinks of fun. Maybe we don’t need to hear ‘Dude (Looks Like A Lady)’ again (especially in 2022) and the cover of ‘I’m Down’ is as pointless as a chocolate fireguard, but the album works, especially the non-singles like ‘Hearts Done Time’ (written by Perry and Desmond Child while Tyler was finishing rehab), ‘Hangman Jury’ and ‘Girl Keeps Coming Apart’ are a blast to listen to. It’s a perfectly-wrapped time capsule to 1987 when a newly invigorated Aerosmith were back on form and rediscovering the joy of making music.
Get Your Wings
Unhappy with the way album number one turned out in terms of sound and sales (no promotion, no airplay, no interviews etc), Aerosmith went at it hard for their second. Get Your Wings‘ recording was preceded by intense rehearsals and pre-production refining of songs that had begun taking shape on the road. And while Get Your Wings may initially have met a similar fate in the sales department (though it would go on to sell a few million) it was not only reviewed more widely but met positive reviews. With due reason: it’s on Get Your Wings that Aerosmith not only hit its stride but, with Jack Douglas manning the boards, managed to get the capturing of that sound right too.
Get Your Wings, then, contains some of their best songs – ‘Same Old Song and Dance’ (I’ve still not found an explanation why Joe Perry didn’t play the lead on the record’s version or ‘Train Kept A Rollin’ – in fact he plays very little lead on this one) and ‘Seasons of Wither’ should sit high on anyone’s lists – and is one of their finest moments. Still relatively fresh out of the gates as a band, the song-writing is coming together brilliantly and the band – tighter now from a lot of touring to push their first album and build their fan-base outside of Boston – bring the goods. This is where they shed the uncertainty of their first album and find the sound and formula that would propel them to the top over the next few years.
Toys In The Attic
If Get Your Wings benefited from the band’s maturation as songwriters and tightness from touring, the jump from touring behind that powered their next, Toys In The Attic even more notably from both the riffs that Brad Whitford and Joe Perry bought back from the road to the confidence they bought with them to performing in the studio.
Without the benefit of having years to work on the songs, Toys In The Attic was Aerosmith starting from scratch and working to a deadline. It worked: along with Perry and Whitford, Tom Hamilton bought two songs to the table and while I can take or leave ‘Uncle Salty’ I defy anyone to crank up ‘Sweet Emotion’ and not get a kick from it. Meanwhile ‘Toys In The Attic’, ‘Walk This Way’, ‘No More No More’ and even ‘You See Me Crying’ (in all its 70’s rock extravagance) rank among their finest songs and, with Jack Douglas now adapt at capturing the band’s sound and energy, Toys In The Attic was Aerosmith’s breakthrough and it still holds up as a cracker today.
Interesting (probably not very) side-note: Run-DMC thought the name of the band was Toys In The Attic and the album that was home to ‘Walk This Way’ was called Aerosmith.
Pump
Why is Pump number 2 on this list? Because it’s so fucking good, that’s why. It’s the highlight of their second charge – it may not have hit the same sales figures as Get A Grip did but where that album felt bloated, Pump is taught at ten tracks. You can tell this is before the era of cd-bloat as ‘The Other Side’ meant ‘Deuces Are Wild’ was canned rather than expanded to eleven tracks.
There’s a massive leap between Permanent Vacation and Pump – the band don’t sound lost in the production sheen that coated their comeback album, instead they’re positively flexing in it and sounding, well, pumped up.
There are less outside co-writes, the songs revel in their amped-up sound and on Pump the gritty, raunch-n-blues of Aerosmith’s peak is incorporated into the mix and the band are clearly powerfully focused as though to prove the point that their comeback was no fluke and they could still bring the good without song doctors – Tyler and Perry had a hand on 7 of the 10 tracks, there’s a Tyler/Whitford and Tyler / Hamilton song here and only 4 of the tracks feature non-band writers. In comparison twelve of Get A Grip‘s fourteen songs featured outside writers and the band alone were responsible for only three of Permanent Vacation‘s songs.
Everything on this album sounds right – even with all the extra horns and synths of the era ‘The Other Side’ rocks hard, ‘Young Lust’ is as good an opener as they’ve done and ‘What It Takes’ is the only of their ballads worth tuning in – it’s also the only one on the album really.
Despite the cringe-worthy Spinal Tap-isms that abounded on ‘The Making of Pump’ – this is the sound of a band firing on every cylinder. They were clean and they were tighter than a duck’s arse again after a massive tour in support of Permanent Vacation – this is only real instance where they managed to combine the ‘hit making’ formula that pervaded their later career with the best of their ‘vintage’ and it worked – great songs, great performances and not an ounce of fat.
Rocks
It couldn’t really be anything else that sits at the top of the pile here but Rocks. This is the quintessential Aerosmith album – it’s the sound of them at their utter peak, managing to capture their rawest, hardest album full of great songs even in the face of massive quantities of drugs being ingested like they were training for the snortolympics.
‘Back In The Saddle’, ‘Last Child’, ‘Rats in the Cellar’, ‘Nobody’s Fault’, ‘Lick and a Promise’… not only is Rocks stuffed with more great songs than anything else they’ve done but it works as a start-to-finish album too. I mean, you’d have to be off your tits on something to come up with all the details of ‘Back In The Saddle’ – the ‘heeya’ calls and fucking hoof beats, the actual whip cracks (which were abandoned after multiple bloody attempts yielded a shit sound so replaced by whipping a microphone cord and using cap gun – as if this were the more sensible route), Tyler taping tambourines to his boots and stomping around the studio, Perry playing a six-string bass like a guitar and the yodels on the fade-out… and yet it’s fucking glorious because of all that and because it’s all underpinned by the sound of the band at their peak – screaming leads, absolute power from the rhythm and Tyler giving it all in the name of the song. Which, as it turns out, is as good a summary of the whole album as you could get from me.
Mumbling About... 