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Post by Mighty Jack on Jan 5, 2011 4:29:00 GMT -5
Unless video attached, click on title to hear song 90. People Are Strange, The Doors I hate, hate Jim Morrison’s voice. That low, droning delivery makes me grind my teeth. But he was an icon of the era and every once in a while a melody and strong lyrics could defeat the vocals. PAS is one of those moments. The tinkling piano reminds me of something you’d hear in a movie set in a Saloon. The bass makes an impression and the words are provocative. I don’t even mind Jim’s vocals too much on this one. 89. Fire, Crazy World of Arthur Brown And crazy it was! This tune heavily influenced the progressive rock movement, so if you hate prog you can lay some blame at Arthur Browns feet. This is a weird song and that it peaked at #2 on the Billboard charts in October of 1968 is appropriate. Good Halloween tune and check out Brown’s costume in the video (You think Peter Gabriel was a fan?). These guys never had another hit, and the band broke up mid tour 1969 due to keyboardist Vincent Crane’s mental illness (Crane would later play keys for Dexy’s Midnight Runners) 88. Lucifer Sam, Pink FloydI didn’t know whether to go with this one or the quirky “Bike”. I picked Sam because it feels more like a regular song. I think both are a kick, and not as bloated and pretentious as what would come from the band in the 70s. From Wiki… The song is built around a descending riff, with the dominant instrument being composer Syd Barrett's electric guitar, fed through an echo machine; the resultant sound has been likened to a "sinister" Duane Eddy. This is augmented by bowed bass and increasingly agitated organ and percussion effects87. Eve of Destruction, Barry McGuire One of the essential protests songs of the era. It seems everyone recorded a version of this tune, the Turtles, even Jan and Dean! But it’s McGuire’s version that struck a chord. I like the vocals though they are rough and raw. Funny thing is, is that those were demo vox. He was supposed to re-record them but the demo leaked out and got hot. So that’s the cut we hear today. Some of the words are a bit clunky and the material is out-dated (McGuire has updated a few of the lyrics). But as a time capsule of the times it is still an important piece. 86. Time Wont Let Me, The Outsiders From Cleveland Ohio, this band was steeped in the rhythm and blues traditions, which gave their tunes a bit o’ soul. They recorded 4 albums, but it’s for this number that they are best remembered. I love those brassy horns; they add a lot and separate the Outsiders from other groups who were drawing inspiration from the British invasion. 85. The Sun Lights Up The Shadows of Your Mind, First Crow to the Moon Info on this group is scant. I do know that Chris Stein (of Blondie fame) was in the band, and that they split in ’67 after guitarist Alan Avick died of leukemia. This is East coast psychadelia, resplendent with a Churchy Farfisa organ and echoed vocals. 84. Defecting Grey, Pretty ThingsGuitarist Dick Taylor left the Rolling Stones before they hit it big (he played bass with them) and later formed Pretty Things with vocalist Phil May. Grey is an interesting piece; a nursery rhyme opening gives way to a screaming psychedelic riff. The tune returns to the verse, then breaks off in a whole new direction. All that chaos makes it a difficult listen but there is so much to enjoy in each section that I put up with it. BTW: Pretty Things recorded a rock opera first, before the Who struck with “Tommy”. 83. Are You Gonna Be There (At The Love In), The Chocolate WatchbandSan Jose’s the Chocolate Watchband is an odd group, hard to pin down. There were a few key band member changes and on their albums their manager sometimes inserted songs with different musicians and singers! This tune came from a movie they appeared in (The Love In) and features the classic line up, complete with Dave Aguilar’s Jagger-like vocals. Don’t let the title fool you; the song musically sounds more fitting to teenage rebellion than a peaceful hippy love-in. 82. Heart Full Of Soul, The Yardbirds The band that launched the careers of Eric Clapton, Jeff Beck and Jimmy Page. Clapton left after the excellent “For Your Love” (he didn’t like it), Graham Gouldman wrote that song, as well as this tune, which is punctuated by Jeff Beck’s distorted lead guitar lick. 81. Never My Love, The AssociationThis 6-piece combo recorded slickly produced, MOR radio hits. You know, the kind of soft commercialized stuff I loathe? And yet, I have to admit I liked some of their material. “Along Comes Mary”, “Cherish” -- and if you wanted oblique, there was “Pandora’s Golden Heebe Jeebe’s”. “Never My Love” is simply a classic ballad, with a beautiful melody, pitch perfect vocal arrangements and sophisticated instrumentation. Now go ahead on --- tease me about this
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Post by Mighty Jack on Jan 6, 2011 3:12:46 GMT -5
Unless video attacthed, click title to hear song 80. Itchycoo Park, Small FacesLead by Steve Marriott & Ronnie Lane, Small Faces were a well-oiled machine that at times got far too silly for their own good. Sometimes I wonder if I’m listening to Spinal Tap with these guys. Not being taken serious even frustrated Marriott, who split up the band (which reformed with Lane, Rod Stewart & Rod Wood in the 70s). Itchycoo displays the bands assets, the musicianship and songwriting is impeccable. There’s that catchy hook “It’s all too beautiful”, and good hippy dippy use of the flanging effect. 79. Just Dropped In (To See What Condition My Condition Was In), The First Edition Kenny Rogers’ folk group had experimented with different genres before hand. So it’s not that surprising that they decided to jump on the psychedelic train, or that they actually produced an entraining piece out of it. Written by HOF Nashville songwriter Mickey Newbury as a warning against LSD - it features a Glenn Campbell -tremolo effected- solo that was heavily compressed, and a notable blending of backing harmonies. 78. Hair, The Cowsills The group that inspired TVs The Partridge Family – “Hair” (from the musical of the same name) is a broad, goofy tune with superb vocals to carry it. At first the recording company wouldn’t release it, they felt it was too ‘far out’ for the squeaky clean popsters. But the ‘sills distributed it to radio themselves and it took off. On a sad side note, both Susan and Barry Cowsill were living in New Orleans when Katrina hit. Susan got out of the city, but Barry did not. His body was discovered under a dock 4 months after the disaster. 77. A Question of Temperature, The Balloon Farm This was the only hit (#37) for the Jersey garage-psych quartet. The group recorded another single that failed and were dropped by their label before they could do an album. This is a groovy number, one that offers up the standard fuzz guitar and echoed vocals, feedback and strange electronic noises y’all have come to love and expect from the genre. 76. Cara-Lin, The Strangeloves Writer/producers Bob Feldman, Jerry Goldstein and Richard Gottehrer (My Boyfriends Back) one day decided to become a fake (but real) group. The New York natives made up a bio that had them coming from Austraila, they even produced their own record under a fake name (Bassett Hand). The tro had a couple of big hits (I Want Candy) with this big beat, stomp-pounding rocker my favorite. 75. In The Land of the Few, Love Sculpture Welsh blues-rock band lead by Dave Edmunds. This is simply a way cool tune - with nice harmonies and a great melody. I love how it slows down in the middle and then moves into an impressive (but not over cooked) Edmunds guitar solo. 74. Sugar Sugar, The ArchiesAh yes, you can’t discuss the 60s without some mention of Bubblegum. Wiki defines it best… The chief characteristics of the genre are that it is pop music contrived and marketed to appeal to pre-teens and teenagers, is produced in an assembly-line process, driven by producers, often using unknown singers and has an upbeat sound. The songs typically have singalong choruses, seemingly childlike themes and a contrived innocence, occasionally combined with an undercurrent of sexual double entendre. Bubblegum songs are also defined as having a catchy melody, simple chords, simple harmonies, dancy (but not necessarily danceable) beats, repetitive riffs or "hooks", use of solfege syllables and a vocally-multiplied refrain. Bubblegum rarely has guitar solos, usually feature the organ, and often use a single-clap or double-clap as prominent percussion. The song lyrics often concern romantic love, but many times are about just feeling good or being happy, with references to sunshine, loving one another, toys, colors, nonsense words, etc. They are also notable for their frequent reference to sugary food, including sugar, honey, jelly and marmaladeAnd yet, from out of this shameful formula emerged a few classics songs and bands. No, this Archies tune is not a classic, but so what, it puts me in a good mood. It’s a happy little ditty that pumps away on simple chords (D – G – A) from which it never strays. Andy Kim co-wrote it. Songwriter Toni Wine (Groovy Kind of Love) sang the sweet female backing vocals. Barry Manilow’s future producer, Ron Dante sang the lead and comedian Ray Stevens contributed hand claps “I’m gonna make your life so sweet…hey, hey, yeah!” 73. I Wanna Be Your Dog, The Stooges Iggy Pop is best known for his output in the 70s, but this proto-punk outfit first hit the scene in the late 60s. Dog is just what you’d expect from the Stooges. The driving rhythms, grinding guitars and Iggy’s menacing twang. Wiki summed it up best… ”Its memorable riff, composed of only three chords (G, F# and E), is played continuously throughout the song (excepting a brief 4-bar bridge). The 3-minute-and-9-second long song, with its raucous, distortion-heavy guitar intro, pounding, single-note piano riff played by producer John Cale and steady, driving beat, established The Stooges at the cutting edge example of the heavy metal and punk sound. The lyrics have been described as evoking a sense of lubricity and self-loathing, a monument to a state of blue-collar tedium and alienation of their era, late 1960s industrial Michigan. This sense of working class disenfranchisement was widely echoed later by the Sex Pistols…”72. To Sir With Love, Lulu The lyrics were penned by Don Black (who served that duty for many a 007 theme) and initially performed with the Mindbenders (Groovy Kind of Love), who also acted in the film. It’s one of those numbers that sounds like it could only come from the 60s (as do Lulu’s vocals). Plus it’s from one of my favorite Sydney Poitier films and added much to the movie. 71. In-A-Gadda-Da-Vidda, Iron ButterflyDang it, this got cut off when I posted and now I've lost my write up. Ah well - It's pretty much a law that if you make a list culled from the 60s, you have to include this song. the titles a drunken garble on the real title... "In the garden of Eden". The guitar riff is as iconically 60s as you get.
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Post by Mighty Jack on Jan 7, 2011 1:13:37 GMT -5
Unless video is attached, click titles to hear song. 70. (We Aint Got) Nothin’ Yet, The Blues Magoos Leave the Bronx? Does that include the Blues Magoos (Bronx natives). One of the early psych bands. The Vox Continental organ riff is distinct, but it comes from Ricky Nelson’s “Summertime” and was so cool Deep Purple used it on “Black Night”. Ah well, at least they all go into their own directions with it. 69. The Hole In My Shoe, Traffic This acid rock satire was written by Dave Mason (He played the acoustic on Hendrix’s “All Along The Watchtower). I’ve read that Steve Winwood didn’t care for it because it didn’t represent the bands musical style… I’m not really much of a Winwood aficionado, so maybe that’s true. I like this song though. 68. My Friend Jack, The Smoke English group who scored a hit in Germany with this Mod song, which got them band in the UK because it promoted drug use (his friend eats sugar lumps… acid was distributed in lumps of sugar, or so I’ve heard). There are 2 versions of the songs (one’s a little more rough around the edges). Cool echo laden fuzz guitars and a catchy hook make this a kick. 67. When It Comes To Your Love, Beau Brummels This was a tune played in the MSTed “Village of the Giants” – From the opening with the jangily guitars, to that steady work on the snare –as well as the vocals and melody- WICTYL is a joy on many layers. The Brummels combined beat music with folk and is often credited for setting the aesthetics of the San Francisco sound. They kept losing members: To illness, the draft and other bands, and later albums didn’t sell as well - and soon the Brummels were no more. 66. Spazz, The Elastik Band Leader David Cortoposi said that this is supposed to be an anti-drug song. Which is different tact for the 60s. It’s pretty funny, frantic with a great cooling down guitar lick in the middle. It was a strange song, with quasi-oriental flavoring - and it offended everyone, because they thought the band was making fun of the handicapped. They weren’t, but the backlash caused the studios to take away all their creative freedom (and pushed things like strings and the like down their throats. They even forced them to change their name). It all went down the toilet for the group, but Spazz remains. It probably would have been embraced had it been released during the New Wave era. 65. San Francisco (Be Sure to Wear Flowers in Your Hair), Scott McKenzie Listen to what the flower people say? As long as what they are saying is penned by John Phillips (or Spinal Tap) I will. San Fran is a lovely hippy anthem that Phillips wrote to promote the Monterey Pop Festival in 1967. He gave the tune to his boyhood friend to sing. 64. You Really Got Me, The Kinks The Kinks were always just okay to me. I liked certain songs though (like “Lola”) and this classic kick-ass number built around power chords (perfect fifths and octaves), was one of their finest. 63. Whiter Shade of Pale, Procol Harum The Hammond organ piece was inspired by Bach, the odd, illustrative lyrics are rarely heard in full (the original recording has 2 verses, the 3rd and 4th are sometimes heard live). The band was one of the forefathers of the Prog-rock style. 62. Johnny Was A Good Boy, Mystery TrendOne of the forerunners of the west coast psych scene, they once toured with giants (like the Grateful Dead) but disappeared through time. Years later their scant recording output was collected in an album in 1999. While the lead guitar on this track is nothing to write home about, there is a cool clavinet to make up for it. “Johnny” is a catchy tune, which chugs along with a sound that recalls the Monkees “Pisces, Aquarius, Capricorn & Jones Ltd”. The great lyrics are about the nice guy next door who does ‘something?’ (they don’t say what) unspeakable. 61. Ferry Cross the Mersey, Gerry and the Pacemakers Managed by Brian Epstein, they were the 2nd biggest band to come out of Liverpool, next to the Beatles (Duh, right?). Their star fell around 1965 and they broke up in 66, but not before releasing some solid material. This was my favorite; it comes from the film of the same name that they starred in.
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Post by Mighty Jack on Jan 8, 2011 2:48:16 GMT -5
Unless video is attached, click titles to hear song 60. You Keep Me Hanging On, the SupremesMonths after completing the list it came to my attention that I’d left a major player off the boards. Actually, I left several majors off, but this was a big oversight, so I wanted to fix it. I just couldn’t have a proper list of the 60s music scene without the Supremes – who at their peak were 2nd only behind the Beatles in terms of popularity and sales. The trio had a run of memorable hits, Baby Love, Stop in the Name of Love, Where Did Our Love Go… but my favorite was always this urgent proto-funk R&Ber. I always dug that morse code guitar bit too - it was the 8th #1 hit for Diana Ross, Florence Ballard and Mary Wilson. 59. Kicks, Paul Revere and the Raiders From Boise Idaho come the Raiders! Paul owned several restaurants and while out picking up hamburger buns he met Mark Lindsay, and history was born. The band were Northwestern rivals with the Kingsmen (They both recorded Louie, Louie at the same studio around the same time). Kicks was their biggest hit and it mixes Beatle like lead guitars with Byrds style bass lines, though lyrically it moves to its own beat as an anti-drug song. 58. Venus In Furs, The Velvet Underground and Nico “Femme Fatal” is my actually favorite VU song but Fur represents the band and their seminal album best. The droning Lou Reed vocals (plus his guitar strings are all tuned to the same note, at different octaves) and discordant John Cale viola, the simple Maureen Tucker percussion – it has an Eastern sound to it and it all fits the vibe of the Warhol Factory. Andy is credited as producer on the LP, but famed folk producer Tom Wilson (Dylan/Simon & Garfunkel) was on hand to keep it professional. 57. I Got You Babe, Sonny and Cher Here’s your Hippy anthem/declaration of love. Sonny Bono worked as a songwriter and producer for Phil Spector and actually wrote this because the term “babe” became popular after Dylan wrote “It Aint Me Babe”. It has become Sonny and Cher’s signature number and I think it still holds up. It’s pleasant and catchy, with that interesting horn/keyboard thingy (what is that instrument?) and the Hal Blain drums. Another goodie from the duo is “And the Beat Goes On”. 56. Goldfinger, Shirley Bassey Shirley’s booming voice made her a mainstay on radio, but it is for this tune that she is best remembered. Goldfinger, the 3rd film the 007 franchises, set the trend – we get the notable John Barry score and theme song set to memorable title sequences. To this day Goldfinger is considered one of the, if not the best Bond song. It’s cool jazz, hip, 100% 60s. The big brassy horns and Bassey’s vocals are the tunes great strength and that long final note is still as impressive as ever. 55. Green Tambourine, Lemon Pipers It’s considered the first bubblegum song to chart, and it has elements of that style, but it’s also very psych – the hippies loved it (and they hated bubblegum) so it crossed genres. Unfortunately because it was a hit the studios exerted more control (their next release, “Rice is Nice” *ugh* is as wretched a tune as this is wonderful). Cool electric sitar and the use of delay on the vocals. 54. Time Has Come Today, Chamber Brothers The Chambers Brothers drew from their Gospel roots and mixed blues with psych-rock to create this 11 minute classic. It was a song Cive Davis didn’t want them to record and when they did anyway, he wouldn’t release it. Eventually they wrnt back, redid it and scored their first major hit. Marked by exaggerated vocals, the tick-tock cowbell, echoes, reverbs and fuzz distorted guitars. 53. Machines, Lothar and the Hand People The first time I heard this I could have sworn it came from the late 70’s or 80s. This combo from Denver was doing New Wave before there was New Wave (The song was produced by the same guy who helmed Devo’s “Freedom of Choice”). The electro psych “Machines”, clanks like a steam punk contraption and reminds me a bit of Oingo Boingo. This is fascinating material that was ahead of its time. BTW, Lothar was the name of the group’s theremin. 52. Society’s Child, Janis Ian I find it amazing a 13 year old wrote this controversial tune about interracial romance. It shows more depth than one would expect from someone so young, (she was 16 when she filmed the Smothers Brothers performance seen in the link). 51. (I Got) Levitation, 13th Floor Elevators From Austin Texas come the fathers of the psychedelic movement. This track is from their classic LP “Easter Everywhere” which shifts from the garage sounds of their début album to a more folk flavor. And while the production is weak the song is still a winner (I’ve not heard the remastered box set so it might sound better on that front). Known for the electric jug and the acid trip vibe of the music. Lead singer Roky Erickson provides vocals that are an alley cat mrcleveland. Though it took years before the combo received it’s due, in its day they inspired many imitators, such as The Free Spirits and Golden Dawn (best known for their album “Power Plant”). I didn’t include any of these bands on this list because the original is superior on all phases. Well, that’s the first 50; I hope someone out there is enjoying the tunes. I’ll return next Monday night and take us down to the road to the final half – 50 more songs from 50 acts of the 60s.
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Post by Mighty Jack on Jan 11, 2011 1:59:57 GMT -5
Unless video is attached, click titles to hear song 50. Crimson and Clover, Tommy James and the Shondels Tommy James wanted to take the group in a different direction, this song, his biggest hit, was the result. The tune is noted for the cool tremolo effect on guitars and at the end, vocals. 49. Bits and Pieces, The Dave Clark 5 The 5 were part of the London “Tottinham Sound”, in response to the Brian Epstein stable known as the “Mersey Beat”. They recorded outstanding tunes like Glad All Over and Catch Us If You Can, but my fav from the five was this rock ‘em stomp ‘em tale of a broken heart. Great vocals by Mike Smith, cool drums. 48. Pictures of Matchstick Men, Status QuoThese guys got hot in the UK in the 70s when they started doing power rock, but back in the 60s they were dabbling in the psych scene. Matchstick Men (a song about painter L.S. Lowrey) was their only hit in the States. From wiki… There are two versions of this song, a stereo and mono version, both quite different from the other. The mono version (the original single) has the trademark psychedelic wah-wah guitar between lyric breaks, but for some reason, the stereo version omits it. The song opens with a single guitar repeatedly playing a simple four note riff before the rhythm guitar comes in with chords and the drums and lyrics begin. "Pictures of Matchstick Men" is one of a number of songs from the late sixties to feature phasing47. Psychotic Reaction, The Count Five One hit wonders; the 60s are rife with them. The Five were 5 lads from San Jose, ages 18 and 19, who wore Dracula capes on stage and exploded on the scene with a bitchin’ single. They were then thrust into the studio to record some hastily hashed together songs and thereafter begin to suffer one failure after another. Oh well - they were students and the gigs weren’t paying much. So they split up, returned to school and faded from the scene. Fortunately they left a classic in their wake. Psychotic features a heavy helping of fuzz guitar, howling train whistle harmonica and tempo changes akin to the Yardbirds. Though he wasn’t the main lead singer, Sean (John) Byrne, a native of Dublin, had the strongest voice (one that earned backstage praise from Jim Morrison). And it’s an asset here. 46. Tuesday Afternoon, The Moody Blues These symphonic rockers are well known for “Nights In White Satin”. Since I prefer the Dickies hyper-kinetic version of that number, I went and selected Tuesday as my Moody tune, which I like better anyway. The mellotron and flute solo, great vocals, lush, pretty melody. It’s all good. 45. Black Sheep, SRCDetroit rockers who were bigger in the UK than the USA (Peter Gabriel has stated that he was a huge fan of their first album). I about salivate while listening to that Fuzz lead spot. 44. What A Wonderful World, Louis Armstrong Funny that this song didn’t catch fire immediately, this pretty tune has now become a standard. I love the hopeful lyrics and Louis’ gravely, though gently soulful vocals. You’d have to be a hell of a grump to hate this number; it would be like hating puppies and sunsets and pork fried rice with sweet & sour chicken. 43. Ring of Fire, Johnny Cash Johnny’s biggest hit was co-written by June and is about her growing love for Johnny, as she agonizes over his substance abuse (they would marry 4 years after the release of the single). The musical arrangement came to Cash in a dream, where he heard the song accompanied by “Mexican horns”. Mother Maybelle and the Carter sisters are heard singing backup. 42. These Boots Are Made For Walkin, Nancy Sinatra Frank’s little girl had a string of hits in the late 60, with Boots becoming her signature number (along with those hot Go-Go Boots of hers). It’s a hip 60s tune, with slick horns and a swinging bass beat. Nancy sung in an odd low range, but it seemed to work for her. My mother had her greatest hits, so I’ve heard a lot of her music. Boots was the best. 41. Knock on Wood, Eddie Floyd100s of people have covered this classic (and it was included in a scene in the film “Easy A”), but I like the one done by the guy who write it, R&B master Eddie Floyd (though he originally written it for Otis Redding). Heralding horns and Eddie’s slick vocals make this a bonafide classic
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Post by Mighty Jack on Jan 12, 2011 1:52:42 GMT -5
Unless video attached, click title to listen 40. My White Bicycle, TomorrowDespite critical raves, this psych band never caught on with the public. Cool song though; with backward guitars played by Steve Howe (who would later join prog-rockers, Yes) and rumbling drum. The title comes from something they tried in Amsterdam, which reportedly instituted a community bicycle program: Drummer John Alder explains, "they had white bicycles in Amsterdam and they used to leave them around the town. And if you were going somewhere and you needed to use a bike, you'd just take the bike and you'd go somewhere and just leave it. Whoever needed the bikes would take them and leave them when they were done." 39. White Room, Cream I can’t improve upon what was written in Wiki… After bassist Jack Bruce wrote the guitar pieces, Cream's lyricist, poet Pete Brown, grouped colourful four-syllable phrases, loosely organised around images of waiting in an English railway station influenced by the drugs he was taking. "White Room" is further noted for its unusual time signature of 5/4 in the introduction and bridge, with triplets played on toms by Ginger Baker, his thunderous bass drum part also lacing the verses. Finally, "White Room" is notable for showcasing guitarist Eric Clapton's best known use of the Vox Clyde McCoy Picture Wah in the bridge and extended solo 38. Space Oddity, David BowieBowie had released a so/so début album and was struggling. He signed a 1 record deal with Mercury but found it difficult to get a producer. George Martin turned down the job and it was eventually passed down to Gus Dudgeon. Thankfully for Bowie, the tune began his long trek as one of music’s most notable avant-garde performers. This was released in November of 1969: ringing out the old decade, ringing in the new. 37. California Dreamin, The Mamas and the Papas Euphonious vocals and a breezy alto flute solo highlight this folk classic about a man who is freezing his butt off, longing for the warmth of California (hey, kind of sounds like a lot of us this winter) 36. The People In Me, Music Machine Catchy song from Sean Bonniwell’s LA garage band, which fosters a sound that was kind of the Beatles, meets the Doors. The Machine was known for the fuzz guitar, a Farfisa organ and their look. Which consisted of all-black clothing, black moptop hairstyles and a single black glove. Studio interferance prevented their debute album (Turn On) from being the classic it could have been. Still, the original numbers were great and it produced the hit “Talk, Talk”. I never felt that Sean came close to matching the material on his first LP. They lacked the same spark and originality. 35. You Don’t Know Me, Ray Charles While Ray had success on the pop charts in the 60s with tunes like “Hit the Road Jack”, it’s this tender love song that I appreciate the most. Sure, the overdone strings and backing vocals might be a bit syrupy, but Ray himself delvers so much genuine heartbreak (sans the melodrama). If you’ve ever felt the sting of unrequited love, Charles’ soulful rendition of this classic will move you to tears. 34. Moon River, Audrey Hepburn Greater singers have tackled this classic, but Audrey’s tentative, delicate take has always been my favorite version. It’s bittersweet and captures the tone of the film nicely. Audrey had a beautiful soul and a tender heart and that shines through in her rendition. 33. The Mighty Quinn, Manfred Mann Great cover of a folk number written by Bob Dylan during his ‘Basement Tape Sessions’. According the Dylan the song is about the arrival of an Eskimo who changed despair into joy and chaos into rest. The inspiration for the tune was Anthony Quinn’s 1959 film, “The Savage Innocents”. I dig the colorful lyrics (“Come on without, come on within, you’ll not see nothing like the Mighty Quinn”) and Mann’s upbeat take (Bob’s original is kind of sloppy). This is a happy song, which manages to be happy without being sappy. 32. I Can See For Miles, The Who I wasn’t as into the Who of arena rock and rock opera’s – I liked the power pop Who found in their stellar LP, “The Who Sell Out”. And the explosive power poppingest was Miles. It’s got a hippy melody and Entwistle’s usual solid bass playing, but what makes it a kick in the teeth is Keith Moon’s chaotic, wild man drums. Man that dude was all over the place. He was probably hell on a guitarist trying to keep a steady tempo but he sure got the listeners blood pumping. 31. Cold Turkey, John Lennon John offered this number about his withdrawal from heroin as a Beatles tune, but Paul wouldn’t have it, feeling it was too persona (so why did he agree to the “Ballad of John and Yoko”?) This is the direction John’s music was going. He always wrote about himself, but in an inclusive way. As a soloist his work was clearly autobiographical and rarely inclusive (and less effective because of it). Regardless this is a biting hard rock, bluesy track was one of the better tunes from a solid solo career (To me, Instant Karma, Working Class Hero, Merry X-Mass War Is Over and Imagine are as good as anything Lennon wrote as a Beatle). The band he assembled was impressive as well. Clapton was doing that screaming guitar, Klaus Voorman was on Bass and Ringo on drums. The entire song, words & music, evokes a feeling of sickness and pain.
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Post by Mighty Jack on Jan 13, 2011 1:08:23 GMT -5
Unless video attached, click title to listen 30. Angel of the Morning, Merrilee Rush Written by Chip Taylor (Jon Voight’s brother) this became the biggest hit for Seattle born Merrilee (who also garnered a best female vocalist Grammy nom – she lost to Dion Warwick). I love Merrilee’s original recording of this - it’s been covered a lot but I prefer her version. I like her smoky, plaintive vocals, the rat-a-tat-tat of the snare; the dramatic build up in the chorus. 29. The Weight, The BandLots of interesting tidbits about this song at Songfacts.com. This is the Bands most well known tune, it features sharp storytelling lyrics. Musically, the song shows the blending of folk parlour song harmonies in the chorus where the voices come in on the 'and..you put the load..' (wiki) 28. A Little Less Conversation, Elvis Though his best work came out of Sun records and a great self titled LP in the 1950s, The King was still releasing red hot hits in the 60s ala “Return to Sender” and some hip pieces like the Edge of Reality and this groovy track, which found new life in a re-mix made in the 2000s. I prefer the original, without the artificial flavoring. And IMHO, Elvis shows off a voice that’s even stronger than it was in the 50s. 27. Catch the Wind, Donovan Sunshine superman and hippy mushroom folk became Donovan’s calling card. But with his first single, released in 1965, he offers a gentle Dylanesque tune about lost love that is poetic and soulful… ”In the chilly hours and minutes of uncertainty, I want to be in the warm hold of your mind – To feel you all around me, and to take your hand, along the sand, ah but I may as well try and catch the wind” – it’s a song that always puts a lump in my throat. The single version had echo and strings, the LP cut eliminates both. Later he had to re-record it for his greatest hits because of some weird rights issue. 26. I Had Something to Dream Last Night, The Electric Prunes Best known for that oscillating reversed guitar that was recorded using a 1958 Les Paul with a Bigsby vibrato unit. The Prunes were initially not allowed to write their own material and were sadly saddled with some odd-ball material that had no cohession. Some of it was good, some of it was awful and at least one tune was pure gold. Great title too. 25. What’s New Pussycat, Tom Jones Sexy Welsh vocalist Tom Jones pairs up with Burt Bacharach to create this swinging hep-cat. Tom has a full, booming voice, which he shows off nicely in this tune. 24. House of the Rising Sun, Animals Eric Burden scowls and growls through this folk traditional. From wiki – “The Animals' version transposes the narrative of the song from the point of view of a woman led into a life of degradation, to that of a male, whose father was now a gambler and drunkard, as opposed to the sweetheart in earlier versions”. HotRS was the first ‘real’ song I learned on the guitar. My Uncle Craig showed me how to play that A-minor chord arpeggio (and onward) and I thought I was hot sh---, Ha, ha. BTW, that’s future Jimi Hendrix manager Chas Chandler on the bass. 23. Oh, Pretty Woman, Roy OrbisonThe drums hammer away while that distinct Wayne Moss guitar lick makes it’s introduction and off we go. The Beatles were touring with Roy and remember him working the song (and later performing it live). Orbison was actually a baritone, but had no problem hitting high tenor and it’s said he has a 3 or 4 octave range. This tune is marked by a kitty growl and a “Mercy!” Also considered from Roy: Crying and Only The Lonely 22. Walk Away Renée, The Left Banke The Left Banke was the vanguard of the baroque rock style. Their best know (and my favorite) hit Walk Away Renée- has an evocative melody and lyric, accented by a delicate harpsichord and mournful vocal that I loved trying to imitate when I’d cover this in gigs. The title figure was also the subject of their tune “Pretty Ballerina” (of which Alice Cooper did an awesome cover of) – the lead singer took one look at her and was gone, baby, gone. Someone on line found Renee’s yearbook photo… here’s that picture: The girl who stole a heart and inspired at least 2 hit singles 21. Ode To Billy Joe, Bobbie Gentry There’s a rumor that Dylan hated and mocked this song - if true, I don’t give his opinion much weight. Considering his harsh lyrics directed at women, I’d suggest that his negative reaction was born of jealousy rather than objective critique. Bob didn’t show artistic ladies much respect and if I were to hazard a guess, I bet this is something he wished he’d have written. Hell, it’s something I’ve often tried to imitate myself. The conversational setting and style of the lyrics, the way Gentry weaves her story as table talk. That mystery that draws us in and puts a chill down our spine as we try to imagine what it was that Billy Joe threw off that bridge -- it’s just damned impressive songwriting no matter how you slice it.
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Post by Mighty Jack on Jan 14, 2011 2:58:56 GMT -5
Unless video attached, click on title to hear song 20. Dizzy, Tommy RoeBefore the Beatles there was Georgia born Tommy Roe. My mother had one of his albums and Dizzy (1969) was a constant in our house. Roe was kind of a Buddy Holly knock-off, but he was good. I liked his voice and he was in fine form with this tune. I also enjoy the strings, the grooviness of the number and I like how it goes up in octave at the end. I remember how all of us kids would join mom in singing along to the record... "and it’s you girl making it spin, your making me dizzy!" Good times, good memories. 19. Piece Of My Heart - Big Brother & the Holding Company Gravel voiced blues singer, Janis Jolpin had a terrific range. She could muster up an unexpected sensitivity in quieter moments, then be a blast furnace when she was called to deliver the big punch at the chorus. Joplin was quite an intelligent person (though she hid that) and a musical perfectionist. As good as Big Brother was, she didn’t think they were serious enough about the craft and she spent years piecing together musician (The Full Tilt Boogie Band) that she felt could match her work ethic. Still, with Big Brother she recorded a masterpiece. Piece of My Heart is truly a magnificent track, which shows off her estimable talents. 18. Incense and Peppermints, Strawberry Alarm Clock Considered a bubblegum band, the Clock went through a lot of line-up changes so it’s difficult to pin down a consistent sound. Even this song is odd because a “guest” vocalist was brought in to sing lead (the band didn’t care for the lyrics and didn’t want to sing them sang it Lol). The tunes a hippy psychedelic landscape. I like the lyrics, they are random trippy snapshots ”Beatniks and politics, nothing is new - A yardstick for lunatics, one point of view” The whole thing seems to being saying, “The worlds a mad house so do what you want”. The music drives with organ and plenty of cowbell. A very young Steve Bartek, later the #2 guy in Oingo Boingo, played flute and wrote songs for the Alarm Clock. Of Note: This is Homer Simpson’s favorite song when he’s high. 17. Hurricane Fighter Plane, The Red Krayola A mind bender from the State of Texas – this tune always makes me feel uneasy, it’s a Twilight Zone nightmare set to music. The Red Crayola (later with a K) is often described as mixing freaky art rock with noise. It’s a style Lennon and McCartney played around with, but with more polish. That HFP lacks studio gloss is its strength. The album “Parable of Araby Land” is 5 songs, interspersed with “Free Form Freak Outs”. There are a couple of versions of the song, this is the one I like best… 16. Carrie Ann, The Hollies Though there’s nothing fancy about the chord structure (It’s your garden variety C, F, G) Carrie Anne is everything I like in a pop rocker – As with the Beatles HOF pop number "She Loves You", we get steady verses which draws you into the story the singer shares and then “bam” the hook filled chorus, layered with harmony, grabs me and never lets go… “Hey Carrie Anne, what’s you game, can anybody play”. The steel drum is a nice touch too. Of Note: It could have been called “Marianne”, after Marianne Faithful, but Graham Nash says he chickened out and renamed it. Actress Carrie Anne Moss, born when the song charted, was named after the tune. 15. Sweet Young Thing, The Monkees I simply could not chose between this and “Pleasant Valley Sunday” – so I flipped a coin and this Mike Nesmith number won. That steady drum and bass line is like hammering a nail, I love the way it stomps and pounds. Heck, even the fiddle (played by Jimmy Bryant of Skydivers fame) was unforgettable. I dig Nesmith’s stair step vocals, going from high notes to low (which is a no-no for some songwriters, “end on a high note” they say – but to me that can sound too Vegas, The Monkees show that going high to low works just as well). Of Note: Contrary to popular belief, Nesmith wasn’t the only Monkee who could write a tune. The best original song on the LP “Headquarters”, was the Mickey Dolenz number “Randy Scous Git”. Peter Tork offered up “Can You Dig It” and played a cool picking guitar piece on the backdrop. Even Davy Jones got in the act. The most memorable track on Instant Replay was “You and I”, which he co-wrote and produced. It’s notable for the inclusion of Neil Young on guitar (They wanted a Neil Young sound, so they said “What the heck, lets get the actual Neil Young to do it”). It’s also the first session that drummer Hal Blaine’s famous roto-toms were used on 14. River Deep, Mountain High, Ike and Tina Turner This is the song that broke producer Phil Spector’s heart. He felt this was the best work he’d ever done in the studio, but when the number failed to explode on the charts in the States, he took a 2 year break from the biz. The real selling point of the tune though is Tina’s explosive vocals. Phil’s Wall of Sound could overwhelm, but it can’t overwhelm those pipes. Though the lyrics are kind of awful (A woman as loyal as a puppy? Ouch) George Harrison felt that this number was about as perfect as it gets. 13. A Change is Gonna Come, Sam Cooke Sam Cooke had the smoothest voice and on this tune in particular, he drew from his gospel roots and sang with great conviction and heart. Matching those vocals, the music offers orchestral backing and a somber French horn. This soulful number was written after Sam heard Dylan’s “Blowing in the Wind” and was moved by its message. From wiki – The song reflected two major incidents in his life. The first was the death of Cooke's 18-month-old son, Vincent, who died of an accidental drowning in June of that year. The second major incident came on October 8, 1963, when Cooke and his band tried to register at a "whites only" motel in Shreveport, Louisiana and were summarily arrested for disturbing the peace. Both incidents are represented in the weary tone and lyrics of the piece, especially the final verse: There have been times that I thought I couldn't last for long/but now I think I'm able to carry on/It's been a long time coming, but I know a change is gonna come. 12. Sorrow, The Merseys If it sounds familiar, George Harrison quoted from this song on his "It’s All Too Much". Anyway – the Merseybeats were one of the lesser bands to come out of the British invasion; they released nice but unmemorable pop ditties. Later, 2 members went off and recorded this song as the Merseys and for one brief moment, tapped into wonderfulness. It’s said that when John Lennon first heard the song, he exclaimed that he’d wished he’d written it. It’s not that it’s a work of art, but it is Brit-pop at its purest form with a groovy horn sections. It’s a song that makes you happy - makes you bob your head and sing along, “With your long blond hair and eyes of blue…”11. Waist Deep in the Big Muddy, Pete SeegerBrilliant anti-war tune. The “big fool” in the lyrics is President Johnson, but the words are also about a real life event where 6 recruits drown in a training exercise. Big Muddy is a straightforward folk tune - guy with a guitar and a message… a powerful message that illustrates the grotesque and senseless nature of war. Of course this got him to trouble. I guess your not only supposed to love your country, but it’s wars as well - even wars we have no business being involved in.
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Post by Mighty Jack on Jan 15, 2011 1:12:47 GMT -5
This is it, the final 10. Unless video attached, click on title to hear song 10. God Only Knows, Beach Boys I’m not a BB fan, I didn’t really care for “Pet Sounds” but this song moved me, and it has a personal connection (that I wont go into, because who really gives a poopie?), which adds to its importance. Lovely melody, strong lyrics. Wiki has a well-written piece on the song… en.wikipedia.org/wiki/God_Only_Knows9. Fortunate Son, Creedence Clearwater Revival Another song protesting the Vietnam war. The lyrics are sung from the perspective of someone -who is not a fortunate son of a politco etc- who is drafted and sent off to fight. John Foggerty said the tune was inspired by President Eisenhower’s son, David. Who married Richard Nixon’s daughter, Julie. Foggerty felt he and his type where given preferential treatment in regards to being sent off to Vietnam. The music is your classic CCR, swamp rock with gutsy striving drum and catchy lead guitar riff 8. Paint It Black, Rolling Stones The Stone’s are one of the those acts where I like certain songs, but am not so much into their catalog as a whole. Their albums are a hit and miss affair for me. “Paint It Black” is among the wins. I feel it’s one of the greatest rock songs ever written. Lyrically compelling and sonically explosive, PIB has a drama and urgency that draw me fully into the piece. Mick sings with a searing desperation, Charlie Watts provides a double timed drum-pattern, which, with Brian Jones’ sitar, gives the tune a Middle Eastern feel. Composer Jack Nitszche, known to MSTies for his score on “Village of the Giants”, played the keyboards on the track. 7. Time of the Season, The Zombies As great as the songs on “Odessey & Oracle” were, this, the album closer was so far above everything they had done here, or elsewhere. Even though at its heart it’s a simple pop tune, it has a certain a maturity and complexity that sets it apart. The distinct Hugh Grundy drums matched in rhythm by Chris White’s bass, coupled with the Rod Argent jazz style organ riff, each gives the piece a unique flavor. The twin organs at the end were a happy accident. Each take fit nicely together and when it was mixed both were left in by mistake. The vocals, the tight harmonies also make the song something special. This flower power, season of love anthem carries the memorable line… “What’s your name, who’s your daddy”, which has wiggled its way into a few MST3K episodes as a riff. 6. White Rabbit, Jefferson Airplane “Go ask Alice when she’s 10 foot tall”- The Airplane were loaded with talented San Fran musicians, but they struck gold when they spent $750 for Grace Slick’s contract and brought her, and her two brilliant songs she’d performed with The Great Society to the band. They recorded “Surrealistic Pillow”, a great album made better for the inclusion of “Somebody To Love” (written by Grace’s brother-in-law Darby) and Slick’s own “White Rabbit”. The tune opens minimalist: The rat-a-tat-tat of the drums and a throbbing bass, a snake like guitar lick… it builds in intensity as it goes, telling the surreal tale of Alice in Wonderland as drug metaphor. Grace Slick has a strong contralto voice. Her singing weaves sinuously and powerful, matching the force of the music note for note. It reaches its frenzied peak and climaxes in a storm of crashing drum and guitars… 2 minutes and 30 seconds of pure rock and roll bliss. 5. Andmoreagain, Love Arthur Lee’s warbling Johnny Mathis-like vocals, married to a soaring string-based ballad, might come off melodramatic and corny to some - but for me I find Andmoregaian stirring and beautiful. “Forever Changes” is a near perfect LP – it substitutes the blistering electric guitars of Love’s previous release, “Da Capo” for acoustics, strings and horns. And at the top of the class is this gorgeous melody. Lyrically, is he singing about a woman or material possession? It could even be a tale of narcissism. It’s always been a thought provoker (guess I could do a googlesearch and find out for sure). Interestingly, Arthur Lee replaced much of the regular band with studio musicians on this recording -including (perhaps) Carol Kaye on bass and Hal Blain on drums- because the band was unfocused (they later added overdubs). 4. Purple Haze, The Jimi Hendrix ExperienceWhat a way to open your début album. That iconic stop time blues-pulse sets the tone for the rest of the album and heralds the coming of a superstar. Purple Haze gets my blood pumping from the first note and that lyric “’scuse me, while I kiss the sky” is pure 60s trippiness. Mitch Mitchell’s jazzy drumming gives the Experience a unique back beat; bassist Noel Redding delivers the steady rhythm and Jimi is magic, fluid - an elemental guitar God. Hendrix is not just wonderful to hear, he’s best when you can watch him. There might be more precise guitarists; there are guys who play like machines, impressive but cold. Jimi was fire; unpredictable and exhilarating. His guitar wasn’t simply wood and plastic and metal -a construct to be subjugated- it was part of him; it was something he breathed life into. That’s what made him special, that’s what takes your breath away when you see him at Monterey. That’s what I hear when I pop “Purple Haze” in the CD player. 3. Subterranean Homesick Blues, Bob DylanThis was tough and it came down to 2 songs. Like A Rolling Stone opens my 2nd fav Dylan LP “Highway 61”, Subterranean opens my 1st (Bringing It All Back Home). I listened to each -back and forth- for days. Stone is one of Bob’s most important works and my head said to go with it. But Sub is such a blast and my heart told me to pick that one. Considering all the trouble I’ve gotten into by following my heart, I did the logical thing… and followed my heart!The fathers of psych often name Dylan as their main influence. Which sounds odd when you compare the sound of each style. But it’s the psychedelic imagery he sometimes painted that they speak of. He did with words what they did with music. Subterranean is an example of that – Bob create a world out of brilliant, illustrative phrasing and poetry. There’s a story here, but not a linear one. It’s more a collection of snap shots that Dylan spits out rapid fire. ”Johnny’s in the basement mixing up the medicine, I’m on the pavement thinking about the government, the man in a trench coat, badge out, laid off, says he’s got a bad cough, wants to get it paid off…” And with each word these people, those streets, come alive in my head, even though I’ve lost the plot. Music wise it’s an upbeat honky tonk, with a simple back and forth bass line that keeps my toe tapping. The film made for the song is a classic. The iconic image of Bob standing in an alley, not lip-synching as he drops cue cards bearing the lyrics, as Alan Ginsburgh converses in the background. You can argue that Dylan wrote greater songs… but my heart probably won’t listen to you and will insist on having its Homesick Blues. ”The pumps don’t work ‘cause the vandals took the handles”2. The Sound of Silence, Simon and GarfunkelThis has always been my favorite S&G song – I find it stirring, powerful. The melody and tight harmonies are brilliant and beautiful. The haunting lyrics are poetry, equal to anything offered by Dylan or the Beatles. This was the song that made the duo stars. They had broken up after recording an album; Paul was in England when he found out that he had an unexpected hit. It seems producer Tom Wilson brought Bob Dylan’s band in to add drum and electric guitars to the original recording and while Simon wasn’t happy with it (some of the timing is off) he doesn’t look a gift horse in the mouth. Paul returns to America, reunites with Art and a stellar career is born. I like both versions. I get a charge hearing the perfect blending of voices singing that illustrative poetry. Songwriting like this is what makes music a joy. Other tunes that I considered from S&G: Bridge Over Troubled Water, Hazy Shade of Winter, Scarborough Fair Canticle and especially America, which shows off Simon’s skills as a storyteller. 1. A Day In The Life, The Beatles Surprise… Not! I’ll just cut and paste what I’ve already said about the song --- As George Martin stated, Lennon’s haunting vocals sends chills down ones spine. An epic number punctuated by that chaotic swell of orchestration. Paul contributes to the middle section. Lyrically sound, A Day In The Life isn’t simply the best Beatles number, but the single greatest song in rock and roll history. A Wiki note on that final note… Following the final orchestral crescendo, the song ends with one of the most famous final chords in music history. Lennon, McCartney, Starr, and Mal Evans shared three different pianos and played an E-major chord simultaneously. The final chord was made to ring out for over forty seconds by increasing the recording sound level as the vibration faded out. Towards the end of the chord the recording level was so high that listeners can hear the sounds of the studio, including rustling papers and a squeaking chair.
The piano chord was a replacement for a failed vocal experiment: on the evening following the orchestra recording session, the four Beatles had originally recorded an ending of their voices humming the chord, but after multiple overdubs they found that they wanted something with more impact This is 1-A, 1-B would be Strawberry Fields
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Post by Mighty Jack on Jan 16, 2011 15:06:27 GMT -5
So that’s my list. Obviously I left some important names off – I’m not so hot for Led Zeppelin or the Grateful Dead. I’m also not fond of the party songs, so no Louie, Louie, no Wild Thing, no 96 Tears or Dirty Water. These two I had written up but then it got pushed out in the final cut. I’ll share the write up… The First Cut Is the Deepest, Cat StevensBefore he burst on the charts with a string of hits in the early 70’s, Cat wrote this tune, which hit made a splash when it was covered by for P.P. Arnold (one of Ike & Tina Turner’s background singers). He later did his own version in 1967 and it has been covered several times since, most notably by Sheryl Crow. I still feel the songwriter himself recorded the best version. Tieulogy, KakCalifornia band that recorded one album in 1969. “Kak-Ola” Featured sophisticated musicianship and songwriting that was counter to the primitive garage sounds of many psychedelic groups of the era. The LP came and went without leaving so much as a ripple in its wake and founding member guitarist/vocalist Gary Lee Yoder, went on to join Blue Cheer. And a video from one that just missed the cut - The Phycle (what’s a phycle?) from a Texas psych band named “Yesterday’s Obsession”. This icy fuzz tone/organ rocker drones on at a steady 4/4 beat and it reminds me a bit of Nirvana’s more somber pieces. I know little to nothing of the band and it appears, neither does anyone else . Honorable Mentions:110. Midnight Confessions, The Grassroots (with the guy from the Office on guitar) 109. Lets Take Our Love, The Ashes (Became the Peanut Butter Conspiracy) 108. The Midnight Hour, Wilson Pickett 107. People Get Ready, The Impressions 106. Cathy’s Clown (The Everly Bros. Last big hit) 105. You Better Move On, Arthur Alexander/The Leaves 104. To Love Somebody, The Bee Gees 103. I Heard It On The Grapevine, Marvin Gaye 102. Tears of a Clown, Smokey Robinson and the Miracles 101. Let No Man Steal Your Thyme, Pentangle And finally, ala Mr. Atari - here’s the bare bones list of 100:Honorable “Home Town” Mention: Acid Head, the Velvet Illusions 100. San Francisco Girls, Fever Tree 99. Red The Signpost, Fifty Foot Hose, 98. Pushing Too Hard, The Seeds 97. They’re Coming to Take Me Away, Napoleon XIV 96. Get Together, The Youngbloods 95. Painter Man, The Creation 94. Long Years In Space, Neighb’rhood Childr’n 93. Eight Miles High, The Byrds 92. Sittin’ on the Dock of the Bay, Otis Redding 91.The Garden of Earthly Delight, The United States of America 90. People Are Strange, The Doors 89. Fire, Crazy World of Arthur Brown 88. Lucifer Sam, Pink Floyd 87. Eve of Destruction, Barry McGuire 86. Time Wont Let Me, The Outsiders 85. The Sun Lights Up The Shadows of Your Mind, First Crow to the Moon 84. Defecting Grey, Pretty Things 83. Are You Gonna Be There (At The Love In), The Chocolate Watchband 82. Heart Full Of Soul, The Yardbirds 81. Never My Love, The Association 80. Itchycoo Park, Small Faces 79. Just Dropped In (To See What Condition My Condition Was In), The First Edition 78. Hair, the Cowsills 77. A Question of Temperature, The Balloon Farm 76. Cara-Lin, The Strangeloves 75. In The Land of the Few, Love Sculpture 74. Sugar Sugar, The Archies 73. I Wanna Be Your Dog, The Stooges 72. To Sir With Love, Lulu 71. In-A-Gadda-Da-Vida, Iron Butterfly 70. (We Aint Got) Nothin’ Yet, Blues Magoos 69. The Hole in my Shoe, Traffic 68. My Friend Jack, The Smoke 67. When It Comes to Your Love, The Beau Brummels 66. Spazz, The Elastik Band 65. San Francisco (Be Sure to Wear Flowers in Your Hair), Scott McKenzie 64. You Really Got Me, The Kinks 63. Whiter Shade of Pale, Procol Harum 62. Johnny Was A Good Boy, The Mystery Trend 61. Ferry Cross the Mersey, Gerry and the Pacemakers 60. You Keep Me Hanging On, The Supremes 59. Kicks, Paul Revere and the Raiders 58. Venus in Furs, The Velvet Underground 57. I Got You Babe, Sonny and Cher 56. Goldfinger, Shirley Bassey 55. Green Tambourine, Lemon Pipers 54. Time Has Come Today, Chamber Brothers 53. Machines, Lothar and the Hand People 52. Society’s Child, Janis Ian 51. (I Got) Levitation, 13th Floor Elevators 50. Crimson and Clover, Tommy James and the Shondels 49. Bits and Pieces, The Dave Clark Five 48. Pictures of Matchstick Men, Status Quo 47. Psychotic Reaction, The Count Five 46. Tuesday Afternoon, The Moody Blues 45. Black Sheep, SRC 44. What A Wonderful World, Louis Armstrong 43. Ring of Fire, Johnny Cash 42. These Boots Are Made For Walkin’, Nancy Sinatra 41. Knock On Wood, Eddie Floyd 40. My White Bicycle, Tomorrow 39. White Room, Cream 38. Space Oddity, David Bowie 37. Californian Dreamin, The Mamas & the Papas 36. The People in Me, The Music Machine 35. You Don’t Know Me, Ray Charles 34. Moon River, Audrey Hepburn 33. The Mighty Quinn, Manfred Mann 32. I Can See For Miles, The Who 31. Cold Turkey, John Lennon 30. Angel of the Morning, Marilee Rush 29. House of the Rising Sun, The Animals 28. A Little Less Conversation, Elvis 27. Catch the Wind, Donovan 26. I Had Something to Dream Last Night, The Electric Prunes 25. The Weight, The Band 24. What’s New Pussycat, Tom Jones 23. Oh, Pretty Woman, Roy Orbison 22. Walk Away Renee, The Left Banke 21. Ode to Billy Joe, Bobbie Gentry 20. Dizzy, Tommy Roe 19. Piece of My Heart, Big Brother and the Holding Company 18. Incense and Peppermints, The Strawberry Alarm Clock 17. Hurricane Fighter Plane, The Red Krayola 16. Carrie Ann, The Hollies 15. Sweet Young Thing, The Monkees 14. River Deep, Mountain High, Ike and Tina Turner 13. A Change is Gonna Come, Sam Cook 12. Sorrow, The Mersey 11. Waist Deep in the Big Muddy, Pete Seeger 10. God Only Knows, The Beach Boys 9. Fortunate Son, Creedence Clearwater Revival 8. Paint It Black, The Rolling Stone 7. Time of the Season, The Zombies 6. White Rabbit, Jefferson Airplane 5. Andmoreagain, Love 4. Purple Haze, Jimi Hendrix 3. Subterranean Homesick Blues, Bob Dylan 2. The Sound of Silence, Simon & Garfunkel 1. A Day in the Life, The Beatles
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Post by Mighty Jack on Jan 28, 2011 2:37:24 GMT -5
Deleting this post since I'm incorporating what I wrote into a larger project.
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Post by Mighty Jack on Feb 1, 2011 6:25:26 GMT -5
I love Steven Soderbergh films. Not so much his commercial stuff (the Ocean's flicks) but his experimental or smaller pieces. This experimental aspect to his directing style is off putting to some but I find it fascinating. He does things I should hate, would hate in other film makers and yet he makes it work. (ala, the chaotic storytelling and lack of resolution in The Girlfriend Experience).
I've long wanted to do a thread focusing on his filmography, much as I did with Hitchcock. Unfortunately there a lot that's tough to get a hold of. His brilliant King of the Hill, for example, has never been released on DVD in the States!
The under-rated Kafka suffers this same fate. I found Kafka an amazing, thought provoking film. It merged autobiography and the authors works into a singular experience.
Steven himself wasn't too fond of the final cut and it seems there's some legalities that have kept the movie from DVD - that, and we now learn, Soderbergh is re-cutting the film and shooting new footage for a director’s cut!
There's plan for a 2 disc release, perhaps from Criterion (?) and I hope they include the theatrical cut so that it's not lost completely. I am curious to see what Steven has up his sleeve and what the newly shot footage will look like. I've read that it could be 2011 or 2012 for the release.
Great, now lets get the other unreleased material on the shelves so I can have myself a little marathon.
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Post by Mighty Jack on Feb 11, 2011 4:58:59 GMT -5
Last year I posted a 30 second, humorous number titled I Hate Valentines Day – This was a goofy piece I whipped out to try and loosen my brainpan as I was wrestling with the actual –serious- track by the same name. I wound up with 2 versions (3 counting the short version) and I differentiated the two by calling one “Original’ and the other “Extra Crispy” The main difference in the two is in the chorus. I present both versions here for your consideration. Note: I used the same drum pattern and backing vocals on each track and wiped everything else for “Extra Crispy” – You can hear I got he timing wrong at the end and the remnants of the originals backing vocals continues being sung 2 more times. Lead vocals are little too hot here, so bear that in mind. This is about my great love, who had a bad habit. I tried to infuse the song with sex and melancholy. Click on title to listen… I Hate Valentines Day (Extra Crispy)She was a liar and a thief, a ball breaker without relief They say she’s bad for me and it’s true that I couldn’t see Past the heat she’d generate And I had murder in my eye, when she kissed the blistered sky But I had no one else to blame; I went along with that game I was amped up on the charge she’d create But you see, when the rest of the world would sleep and it was only her and I In that moment we got through, all the hurt we’d gone through, but she’s left and now I hate Valentines Day, I hate feeling this way I hate Valentines Day – she left me, but I never left her She showed something new and obscene I made her innocent and clean We thought we’d found the answer, salvation from the cancer But we were too broken to hold on to that illusion Chorus It couldn’t last I knew, and you see Yeah it might have all been a lie, but it was real for me I Hate Valentines Day (Original)* This is sloppier; the timing on the vocals is off. * I prefer the lead guitar here (tone and performance). * The original chorus had different chords and I was playing it differently, there was also a different lyric in this chorus that went like this… "I hate Valentines Day, she’s gone, gone missing I hate Valentines Day, there’s someone new, she’s kissing She left me but I never left her..."* I had an alternate lyric that went… “A ball breaker beyond belief instead of “Without relief” – but I never used that line in either recording.
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Post by Mighty Jack on Feb 15, 2011 5:45:15 GMT -5
I took my car in to the shop today, and while I waited I went out to eat. The only place nearby was Old Country Buffet.
It was filled with old people who are very slow. I’m normally patient because, hey, I’ll be walking in those orthopedic shoes one day - but I was starving and it took everything I had not to yell...
"Get a move on grandpa, I needs me some of those stale card-board-ish spuds with skin covered gravy of indeterminate flavor NOW!"
It’s amazing the crap you’ll eat when you’re famished.
People were offering Valentines Day greetings through out - the cashier, waitress/bus girl, a guy wandering around with mozzarella sticks – all of them wished me a happy V-Day.
Me, a lone balding fat man with a broken car, eating bland, upsetting cuisine… I’m not sure if that qualifies as a happy V-Day?
But, what the hell can you do? We all have problems; right here in River City even - we all make do as best we can. I wasn’t really down (except that my car really, really is near death and now I have to find money and buy a new one).
As I’ve gotten older I’m learning to roll with it. So, no tearful fits of depression from me. V-Day is best when you’re young and in love, better still when it’s brand new love and your all squishy and looking into the eyes of someone you know is everything you could ever want. Good God what a goofy but wonderful feeling. So to those who made puppy dog eyes at someone and felt the swell in your heart and the butterflies in your tummy – good for you. I hope you had a wonderful day I hope you wrote her a sappy love song or poem and that she cried when she heard it and kissed you stupid. This day is for you! And grumpy old man or no, I’m glad for young (or even old) lovers in love.
Hope you had a marvelous day.
But now, if you’ll excuse me I need to make a run to the store for a box of Imodium AD... curse you Buffet from an aged unspecified Country!
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Post by Mighty Jack on Feb 17, 2011 3:54:41 GMT -5
I’m working on an idea, a look at the decade in film. I’m not sure If I’ll post it as a regular thread at Mitchell’s or put it here in my blog – but what I find fascinating is that, like music, these motion pictures can spark a memory as well. I spent much of the decade in Nashville - and listing my top 10s and doing write ups, I can remember the theater I was at, who I was with, the feelings I felt. I’m romanticizing it a bit… and if I’m honest it wasn’t all a bed of roses. Toward the end of my stay I’d hit a creative block, my depression was in full bloom and my marriage was disintegrating. I went a little batsh’t insane for a few years there. But I seem to prefer to bask in the happy memories. Especially at the start when I was living in the Vanderbilt area. I loved this part of town, it was the college area with lots of college age folks but I never felt like an outsider. I was always on the go, after work I’d either be playing somewhere like the Bluebird or Douglas Corner Café (which was a few blocks from my apt) or putting up posters, handing out press kits etc - or going off to my favorite haunt, The Exit/In for some food and rock music. I’m not a social butterfly, I lack certain communication skills, but I loved being out, I loved seeing my fellow songwriters, hearing the music, gabbing with the sound-man or waitress or whoever. They offered a lot of free outdoor concerts in town as well – I saw Big Star, the Knack (yes, they were older but still good). They also showed movies outside (caught Rear Window one night) and then there were the Titans and all my tailgating buddies. In addition to that there was Beatlesfest - generally a great, great time was to be had. There were a lot of Mexican restaurants in Nashville (The San Antonio Taco Company, picture above, was a popular haunt), and since it was a warmer climate, most had outdoor decks. Sitting out there, eating, drinking Cuervo or a sweet tea (no one makes sweet tea like that here in the Pacific Northwest), watching the fireflies dance in the night sky. Man it was wonderfulness. And of course I had the movies. The Belcourt Theater (where Rifftrax has put on a few shows) was where they showed old classics and art house productions. It was located in this same area, about a mile or less from my apt. I saw Donnie Darko there, as well as the Seven Samurai and had the time of my life at a charity event where they played Manos on the big screen. I actually got a job at a theater; the hours were good for a musician. I worked at Imax – I got to see free movies anytime I wanted. I remember the first flick I saw for free was Resident Evil. It normally wouldn’t have been my thing, but I was off work and thought, “What the hell”. Had a great time too. I remember working the regular theater box office for s spell. I was in there for Spider-Man. My oh my what a crazy rush. There have been bigger moneymakers I know, but I never experienced nothing like Spidey. We could lock in movies on our computers and since I wasn’t selling anything else, I had Spider-Man locked in all day. I also enjoyed most of my co-workers. We had a blast, laughed all the time, a bunch of them came to my show at “The End”. One time when a co-worker named Andrew and I were the only ones in the booth, he decided it was Mrs Doubfire day. I had to stifle a barrel laugh when he greeted a customer with a perfect impression… “Gooood Eeevening!” I enjoyed just up and going --- pick a movie, any movie… “Lost in Translation” at Green Hills... very moving. Sat with co-workers through the Corpse Bride at Oprey Mills on opening day (I remember it started 15 minutes before we were scheduled to get off work. 3 of us begged our bosses to let us out early... they were nice and did so). And I took my wife to see MST3K the movie on the big screen at Vanderbilt. Ah memories. Wish I could have afforded to stay there. I miss it. The Great Escape recently closed its doors. This was were I got my comics, used CDs and DVDs. As you can see from these pictures, Nashville was not a gleaming, modern city. There was a lot of dirty brick buildings, it looked old. But while it wasn't shiny (except for the "Bat Building", which I could see from my bedroom window) it had character
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