Sunday, March 31, 2024

Day After Day #88: One Hundred Days

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4). 

One Hundred Days (2004)

There's hard living, and then there's what Mark Lanegan did for most of his 57 years. The man had serious pipes, but he also had serious addictions that plagued him from his teens through the rest of his life. But he also left behind some seriously memorable music.

Lanegan had a troubled childhood in Washington state, one that left him a heavy drinker at the age of 12 and using drugs in his teens. Eventually he became the singer of Screaming Trees, an Ellensburg, Washington, band that played psychedelic hard rock. The band started in 1984 and began releasing albums on a few different labels, including SST. They were signed to Epic Records for their fifth album, Uncle Anesthesia, in 1991. 

As the grunge phenomenon took off in Seattle, the Trees got a lot of attention for their song "Nearly Lost You," which was on their 1992 album Sweet Oblivion but also on the soundtrack for the movie Singles. Lanegan's baritone rumble of a voice was unique among his contemporaries, making him equally adept at belting out hard rockers as crooning quiet blues laments.

Meanwhile, Lanegan was also releasing solo albums on Sub Pop. He had originally planned to do an album of Leadbelly covers with Kurt Cobain, Krist Novoselic and Mark Pickerel, but that was scrapped. One of the songs, "Where Did You Sleep Last Night?" ended up on Lanegan's 1990 album The Winding Sheet. Cobain later famously did a version of it on Nirvana's MTV Unplugged album. Lanegan also appeared on the album Above by Mad Season, a side project that included Layne Staley of Alice in Chains, Mike McCready of Pearl Jam and Barrett Martin of Screaming Trees.

The Trees split up after recording some demos in 1999 but finding no label support. Lanegan continued to release solo albums and appear on other artists' projects, working with the Breeders, Queens of the Stone Age, the Twilight Singers and Gutter Twins with Greg Dulli, former Belle & Sebastian singer Isobel Campbell, electronica duo Soulsavers, Moby and many others.

His solo work was consistently interesting, whether he was singing roots music, hard rock or synth-heavy electronic music. For me, the high point was 2004's Bubblegum, on which he enlisted the aid of many well-known musicians including PJ Harvey, Josh Homme of Queens of the Stone Age, Dulli, Dean Ween and Duff McKagan and Izzy Stradlin of Guns N' Roses. While most of his previous solo work had been quieter affairs, Bubblegum echoed some of the more uptempo music he had done with Screaming Trees and QOTSA on songs like "Hit the City," "Sideways in Reverse" and "Methamphetamine Blues". 

But there were also slower, elegant odes to struggling with addiction and heartbreak. One of those is "One Hundred Days," which features stoner rock OG Chris Goss on guitar and Homme on bass and drums. 

"From my fingertips, the cigarette throws ashes to the ground/I'd stop and talk to the girls who work this street, but I got business farther down/Like one long season of rain, I will remain/Thinking of you/One day a ship comes in/From far away a ship comes in/One hundred days you wait for it/And you know somewhere the ship comes in every day."

Whether he's waiting for his next fix or hoping that he won't slip up, Lanegan's protagonist is dreaming of something better. 

"There is no morphine, I'm only sleeping/There is no crime to dreams like this/And if you could take something with you/It would be bright/Just like something good."

This song has always been one of my favorites of Lanegan's; he just has a knack of conveying that solemn desperation of someone who's been to hell and back more than once. His memoir, Sing Backwards and Weep, is a harrowing, unflinching breakdown of the many lows in his life. Every time you think he can't sink any lower, he somehow manages it. It's a hard read, but an honest one. 

Lanegan moved to Ireland in 2020 and nearly died after getting COVID in 2021. He died in his home in February 2022. He had reportedly been sober for more than a decade when he died; no cause of death was revealed.

I saw Lanegan many times in concert over the years, the first time in 1992 when the Screaming Trees opened for Alice in Chains at the Channel in Boston. Later I saw him solo, with Queens of the Stone Age, the Twilight Singers and the Gutter Twins. He was a man of few words when he wasn't singing and he wasn't much for moving on stage; he would stand ramrod straight, with a death grip on the mic stand, unleashing that incredible voice. The last time I saw him was in 2017 on the tour for his album Gargoyle at Brighton Music Hall. It's sad that he's gone, but I'm glad I saw him in several of his musical incarnations.


Saturday, March 30, 2024

Day After Day #87: Stay Positive

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4). 

Stay Positive (2008)

Growing up as a hard rock fan in the '70s and '80s, sometimes it felt like being a sports fan. For a while there, it was all about which guitarist could play the fastest. When guys like Yngwie Malmsteen and the like were being worshipped in the mid-80s for playing a gazillion notes in one solo, it just felt like the plot was lost. I stopped caring so much about fretboard athletics and wanted to hear bands that played well together. The real test of a band for me was what they sounded like live. Could they elevate a song beyond what was on tape to something special?

One of my favorite bands of the last 20 years does just that. The Hold Steady have consistently delivered great albums, but their concerts are communal experiences that make you believe in the power of rock music. The band formed in 2003, three years after the breakup of the indie band Lifter Puller, which also featured singer-songwriter Craig Finn and guitarist Tad Kubler. 

While their old band was more focused on post punk, the Hold Steady was inspired by classic rock artists like the Band, Bruce Springsteen as well as by their punk roots and bands like the Clash. Finn's dense lyrics told stories about young people dealing with parties and drug addiction, religion, positive jams and unified scenes; many of the songs were based in Minneapolis, where the band started before moving to Brooklyn. Finn wasn't a classically trained singer, but he could bark out a song; Kubler used big riffs and hot solos to drive home the band's anthemic sound, aided and abetted by Franz Nicolay's distinctive keyboard work. 

I got into the band with their second album, 2004's Separation Sunday and then saw them twice on the 2006 tour for their next album, Boys and Girls in America. I loved the albums but the live setting is where the band really catches fire, with Finn leading the festivities like a conductor. He wears a guitar but hardly ever plays it because he's busy egging on the crowd, clapping or just running around the stage. Meanwhile, the band just locks in and kicks the requisite amount of ass.

I caught them at the Middle East downstairs at the last show of that leg of the tour; it was a drunken affair that ended with the band inviting fans to come on stage with them. I thought that thing was going to collapse. A few months later, I was in New Orleans for a conference and saw THS at the smaller House of Blues room there. It was another amazing show that ran late; unfortunately for me, I had to fly home the next morning and basically only got three hours of sleep before heading to the airport. Totally worth it.

For their 2008 album Stay Positive, the band expanded their sound a bit. They brought in some different instrumentation, including harpsichord on one song, had some guest appearances from J. Mascis, Patterson Hood of Drive-By Truckers and Ben Nichols of Lucero, and even featured more refined vocals from Finn, who took some vocal lessons. The album came out in July and I listened to it all summer as I did marathon training. The title track has Finn looking back at his punk rock past, even shouting out some of his favorite bands.

"I've got a lot of old friends that are getting back in touch/And it's a pretty good feeling yeah it feels pretty good/I get a lot of double takes when I'm coming round the corners/And it's mostly pretty nice it's mostly pretty alright/'Cause most kids give me credit for being down with it/When it was back in the day, when things were way different/When the Youth of Today and the early 7 Seconds/Taught me some of life's most valuable lessons."

The song reflects on navigating through the growing pains that every punk scene has to deal with as it matures, and of course emphasizing it with an awesome "Whoa, whoa, whoa"-fueled chorus. 

"There's gonna come a time when the scene will seem less sunny/It'll probably get druggy and the kids will seem too skinny/There's gonna come a time when she's gonna have to go/With whoever's gonna get her the highest/There's gonna come a time when the true scene leaders/Forget where they differ and get big picture/'Cause the kids at their shows, they'll have kids of their own/The singalong songs will be our scriptures/We gotta stay positive."

Stay Positive was the band's peak. Nicolay left after the tour to pursue a solo career and THS released one album before taking a break for a few years. They released one more album before Nicolay rejoined the band and have released three albums since, the most recent being last year's The Price of Progress. I saw them on the tour for 2010's Heaven is Whenever but hadn't seen them again until last spring, when they played a 20th anniversary show at the new Roadrunner venue in Boston, with Dinosaur Jr. opening up. It was a great show as always, but I was impressed/surprised by how many young (like college age/early 20s) kids were at the show, singing all the words to every song, even the newest ones. Some of them were probably kids of the people at THS shows 20+ years ago. This, as with most things these days, made me feel old, but also happy that the band's reaching a new audience.

"When the chaperone crowned us the king and the queen/I knew we'd arrived at a unified scene/And all those little lambs from my dreams/Well, they were there too/'Cause it's one thing to start it with a positive jam/And it's another thing to see it all through/And we couldn't have even done this if it wasn't for you."


Friday, March 29, 2024

Stuck In Thee Garage #521: March 29, 2024

Not gonna lie, this lousy Smarch weather in the Northeast has been pretty depressing, what with the non-stop chilly rain and such. That's why this week on Stuck In Thee Garage, I tried to get people fired up with Kool-Aid Man songs, or songs that make you want to run through a wall. If you don't have a wall nearby, you can improvise.


This playlist is smashing:

Hour 1

Artist - Song/Album

Restorations - Cured/Restorations

Melkbelly - Precious Cargo/KMS Express

Meatbodies - Billow/Flora Ocean Tiger Bloom

Boeckner - Ghost in the Mirror/Boeckner!

The Jesus and Mary Chain - Venal Joy/Glasgow Eyes

Charles Mootheard - Hold On/Black Holes Don't Choke

Spiral Heads - The Roomba/'Til I'm Dead

Yard Act - Dream Job/Where's My Utopia?

Savak - Two Lamps/Flavors of Paradise

Daniel Romano's Outfit - Fields of Ruin/Too Hot to Sleep

The Bevis Frond - Here for the Other One/Focus on Nature

Mannequin Pussy - Sometimes/I Got Heaven

Glitterer - No One There/Rationale

Laura Jane Grace - Mercenary/Hole in My Head

Torrey - No Matter How/Torrey

Rick Rude - Wooden Knife/Laverne

IDLES - Jungle/Tangk


Hour 2: Kool-Aid Man

Masters of Reality - Domino/Masters of Reality

Hot Snakes - Kreative Kontrol/Audit in Progress

Riverboat Gamblers - A Choppy, Yet Sincere Apology/Underneath the Owl

Joe Jackson - Friday/I'm the Man

Arctic Monkeys - The View from the Afternoon/Whatever People Say I Am, That's What I'm Not

Parquet Courts - Sunbathing Animal/Sunbathing Animal

Jeff Rosenstock - You, in Weird Cities/We Cool?

Ozzy Osbourne - Over the Mountain/Diary of a Madman

Smashing Pumpkins - Siva/Gish

Rye Coalition - Hard Luck/Hard Luck

Queens of the Stone Age - 3's and 7's/Era Vulgaris

Mudhoney - Who You Drivin' Now?/Every Good Boy Deserves Fudge

Les Savy Fav - Rage in the Plague Age/Let's Stay Friends

The Murder City Devils - Idle Hands/In Name and Blood

The Pretenders - Tattooed Love Boys/Pretenders

Oceanator - From the Van/Nothing's Ever Fine

Pixies - Crackity Jones/Doolittle


Smash through to the other side HERE, bucko.


 

Day After Day #86: Let's Stay Together

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4). 

Let's Stay Together (1972)

Some songs are just classics right from the start. Such is the case with Al Green's "Let's Stay Together." Green was starting to enjoy some success when he released the song in late 1971, the lead single from his 1972 album of the same name. He had come up as a soul belter along the lines of Otis Redding, but his producer Willie Mitchell convinced him to try a different approach.

Instead of replicating another singer, Green dialed back the histrionics and was himself. Green used his falsetto as he crooned about pledging to spend his life with his partner. Green reportedly wrote the lyrics in five minutes, but it's what he does with those fairly simple words about commitment that makes the song special.

"I, I'm so in love with you/Whatever you want to do/Is all right with me/'Cause you make me feel so brand new/And I want to spend my life with you/Let me say that since, baby, since we've been together/Ooh, loving you forever/Is what I need/Let me be the one you come running to/I'll never be untrue."

Trying to bring out the best performance from Green, Mitchell knew the singer was best in a live setting, so he reportedly gathered about a dozen neighborhood drunks, bought them some wine and had them sit quietly and watch Green record "Let's Stay Together." Hopefully they remembered what a great song they heard (as well as the multiple takes Green did trying to find the right one).

Musically, the song keeps it simple as Mitchell's band lays down a solid backing for Green's amazing voice to do its thing.

"Why, somebody, why people break up?/Then turn around and make up/I just can't see/You'd never do that to me/Just being around you is all I see/Here's what I want us to do/Let's stay together/Loving you whether/Times are good or bad, happy or sad."

The song went to #1 on the Billboard Hot 100, remained on the chart for 16 weeks and topped the R&B chart for nine weeks. Green went on a good run for the next few years, releasing several albums and a string of hit singles. However, in 1974, his girlfriend assaulted him by dousing him with a pot of boiling grits and then committed suicide. He pledged to turn his life around and became a pastor, although his first wife accused Green of domestic abuse and divorced him in the early '80s. 

Throughout the '80s, Green only recorded gospel music, until he returned to secular music with the 1988 song "Put a Little Love in Your Heart," made for the Scrooged soundtrack with Annie Lennox. Meanwhile, other artists had success covering his songs, including Tina Turner with "Let's Stay Together" (on her big comeback album Private Dancer), Living Colour with "Love and Happiness" and the Talking Heads with "Take Me to the River."

"Let's Stay Together" has been covered by a plethora of artists, including Isaac Hayes, Al Jarreau, Roberta Flack, Michael Bolton, Boyz II Men and Low. It has also showed up in many TV shows and movies, most notably in Pulp Fiction, where it memorably plays in the background as Bruce Willis' character is meeting with Ving Rhames' crime boss. That's where I first got into the song (although I had heard Turner's version a decade earlier) but hearing Green sing sweetly in the background while Rhames is dropping a ton of f-bombs is both jarring and entertaining. 

Quentin Tarantino has done a great job filling his soundtracks with classic yet underappreciated songs, and the Pulp Fiction soundtrack is probably the best example of that. It certainly brought "Let's Stay Together" to my attention, and for that I am greatly appreciative.


Thursday, March 28, 2024

Day After Day #85: Gentlemen

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4). 

Gentlemen (1993)

When the Afghan Whigs of Cincinnati signed with Sub Pop in 1989, they were only the second non-Pacific Northwest band to record for the label. While their first Sub Pop album, 1990's Up in It, was fairly guitar-heavy and the band toured with Mudhoney and Bullet LaVolta, the Whigs started to change up their sound soon afterward. 

Their next release, 1992's Congregation, saw the band adding Motown influences to their heavy rock mix. With alternative rock becoming more popular, the Whigs got some videos in rotation on MTV's 120 Minutes and ended getting a contract with Elektra Records. Their major label debut was 1993's Gentlemen, a dark breakup album written from the point of view of a toxic dude. Frontman Greg Dulli was quick to point out that it wasn't completely autobiographical, lest we think he's some sort of monster.

Because Gentlemen does not hold back. Lyrically, the songs are steeped in the ugliness of a breakup: the lies, deceit, guilt and regret. Combined with the band's potent blend of post-punk and R&B, the album delivers a powerful statement. The title track has the protagonist looking back at what went wrong in the relationship.

"I stayed in too long/But she was the perfect fit/And we dragged it out so long this time/Started to make each other sick/But now I've got time for you/For you, you, you and me too/Well, come and get it, come and get it/'Cause I'm done."

Dulli's character sings with a deadly combination of bravado and self-loathing, fully realizing he's an asshole even as he blusters away.

"Let me in I'm cold/All messed up but nowhere to go/You got indecision, and indecision is my enemy/Unlock the cabinet, hey hey hey/I'll take whatever you got/Now I'm on it, now I'm on it/And you're done."

When I picked up this album, I was in a bit of a dark spiral myself. Renting a room in a house in Middleton, working weird hours and still smarting after the end of a long relationship, I spent a lot of time by myself listening to this dark-ass music. It was cathartic and exhilarating and also kinda depressing, but I got it. 

"I waited for the joke/It never did arrive/And words I thought I'd choke/I hardly recognize."

I saw the Whigs on the Gentlemen tour at the Paradise in Boston and the sheer live power of the band was impressive; I've seen them a bunch of times since then. They released two more excellent albums before splitting up in 2001. Dulli went on to form the Twilight Singers and continued to make great music. In 2012, the Whigs reunited for a tour and since then have released three albums, the most recent being 2022's How Do You Burn? No longer an angry young man, Dulli remains one of rock's best and most underrated songwriters.


Wednesday, March 27, 2024

Day After Day #84: Can't You Hear Me Knocking

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4). 

Can't You Hear Me Knocking (1971)

It's not easy to pick a favorite Rolling Stones song. With over 60 years' worth of music to pick from (okay, maybe just the first 30 years), there's a lot of great stuff to choose from. For me, the best stretch of Stones music runs from 1965 (Out of Our Heads) to 1973 (Goats Head Soup); there's good stuff before and after, but those eight years are the sweet spot. 

I'm going with "Can't You Hear Me Knocking" off 1971's Sticky Fingers, an album that got as much attention for its controversial Warhol-designed cover of man in tight jeans from the waist down as it did for the music. I already owned a repressing that didn't include the zipper, but I went to a school used book and record sale in the early '90s and got a copy of the original for something like 75 cents. The album also introduced the iconic tongue and lips logo of Rolling Stones Records, which I never realized was based on the Hindu goddess Kali.

The Stones had gone through a tumultuous few years at the end of the '60s. Guitarist Brian Jones was struggling with drugs and left the band; within a month (in July 1969) he drowned in his swimming pool. Mick Taylor replaced him. The decade ended with the Stones playing the disastrous Altamont Speedway concert, where the Hells Angels providing security ended up killing a fan after they realized he was armed. After dealing with contractual issues with their manager Allen Klein and Decca Records, they formed their own record label.

Sticky Fingers has some iconic Stones jams: "Brown Sugar," "Sway," "Wild Horses," "Dead Flowers." But I've always loved the 7-minute "Can't You Hear Me Knocking," which starts with a wicked Keith Richards riff and continues through the first 3 minutes before ending with a long jam. The band didn't realize the tape was still running as they continued to jam. It was basically a happy accident. Recorded in one take, the song includes a killer Taylor guitar solo, organ work from Billy Preston and a sax solo from Bobby Keys. Mick Jagger is in fine form as he spits out the lyrics.

"Yeah, you got satin shoes/Yeah, you got plastic boots/Y'all got cocaine eyes/Yeah, you got speed freak jive, now/Can't you hear me knocking/On your window?/Can't you hear me knocking/On your door?/Can't you hear me knocking/Down your dirty street?"

The song was dirty and ferocious; Jagger always claimed the lyrics came to him spontaneously, but they sure sound like someone trying to wake up his dealer to score some more dope.

"Hear me ringin' big bell tolls/Hear me singin' soft and low/I've been beggin' on my knees/I've been kickin', help me, please/Hear me prowlin'/I'm gonna take you down/Hear me growlin'/Yeah, I've got flatted feet now now now/Hear me howlin'/And all around your street now/Hear me knockin'/All around your town."

The final jam has a Latin feel thanks to Taylor's solo and congas from Rocky Dijon. Richards has denied that it was inspired by Carlos Santana. The song was never released as a single, but it became a staple of classic rock radio, especially if the DJ had to run out for a smoke or bathroom break. 

When I was a kid, I got a clock radio with a cassette deck in it, so I started taping songs off the radio and making crude mixtapes. One of the songs I taped was "Can't You Hear Me Knocking." It had such swagger, and that Richards riff was such a grabber. We moved to a small Washington state city that didn't offer much in terms of rock radio, so I would listen to those old tapes constantly. Even now, the song still holds up. I can't imagine anyone in 1971 thought these guys would still be alive in 2024, let alone touring.
 

Tuesday, March 26, 2024

Day After Day #83: Ace of Spades

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).  

Ace of Spades (1980)

It's no insult to the band Motorhead to say you can learn everything you need to know about them in under three minutes. The band's mission statement is encapsulated in one of the greatest rock songs ever: "Ace of Spades." That doesn't mean you shouldn't listen to other Motorhead songs or albums; if anything, the song kicks so much ass, it gets you fired up for more.

Ian "Lemmy" Kilmister formed Motorhead in 1975 after getting kicked out of legendary English space rock act Hawkwind after a drug arrest. Prior to that, he was a roadie for Jimi Hendrix and The Nice. Kilmister decided to form a band that was loud and fast like the MC5. Originally called Bastard, Lemmy changed the name to Motorhead after the last song he wrote for Hawkwind. 

After the first guitarist and drummer didn't work out, singer-bassist Lemmy settled on a band lineup with Phil "Philthy Animal" Taylor on drums and his friend "Fast" Eddie Clarke on guitar. It was tough sledding for the band at first; their label United Artists refused to release their first album (it eventually came out in 1979). Eventually they got some studio time to make a single and instead recorded 13 songs for their self-titled debut in 1977. The album didn't fare that well but Motorhead kept plugging along and scored a deal with Bronze Records in the U.K., which released their second and third albums (Overkill and Bomber, respectively) in 1979. Radio exposure and constant touring helped build up their audience and the band scored a couple of top 40 hits on the U.K. Singles Chart.

Motorhead's fourth album, Ace of Spades was released in November 1980. By this point, they were being lumped in with the so-called New Wave of British Heavy Metal along with Iron Maiden, Def Leppard and Saxon. Lemmy resisted the metal label, often insisting Motorhead was a rock band; his influences were as much '50s acts like Little Richard as they were heavier bands like Led Zeppelin or Black Sabbath, but Motorhead also had a punk edge that most of their contemporaries didn't. They weren't singing about dragons or wizards. And one thing for sure: Motorhead played LOUD. 

The title track of "Ace of Spades" was filled with gambling metaphors, mostly about poker. It opens with Lemmy's overdriven bass leading into a galloping beat and the singer's gravel-and-cigarettes bellow.

"If you like to gamble/I tell you, I'm your man/You win some, lose some/It's all the same to me/The pleasure is to play/Makes no difference what you say/I don't share your greed/The only card I need is the Ace of Spades/The Ace of Spades."

The song continues to pummel the listener with the song's monster riffage and no-nonsense attitude.

"You know I'm born to lose/And gambling's for fools/But that's the way I like it, baby/I don't want to live forever/And don't forget the joker/Pushing up the ante/I know you got to see me/Read 'em and weep/The dead man's hand again."

"Ace of Spades" was on the U.K. Singles Chart for 13 weeks, peaking at #15. The album never charted in the U.S., but it hit #4 in the U.K. and #29 in Canada. I remember watching a Motorhead concert on the CBC in early 1981 and being blown away by the power and simplicity of it all.

The song became what Motorhead was best known for, and Lemmy said in interviews that he had gotten sick of it but would always play it in concert because that's what the fans wanted. In 2011, he told an interviewer, "I'm glad we got famous for that rather than for some turkey, but I sang 'The eight of spades' for two years and nobody noticed." 

Motorhead made one more album with Clarke before the guitarist left the band; he was upset the band recorded a cover of the Tammy Wynette classic "Stand By Your Man" with Wendy O. Williams and the Plasmatics. Clarke refused to play on the song and quit, forming his own band Fastway. Motorhead hired Brian Robertson, formerly of Thin Lizzy, to play on their next album Another Perfect Day (which is really good, btw); but he was soon gone because he insisted on wearing shorts and ballet shoes on stage and refused to play the band's older songs. The lineup changes continued over the years but Lemmy forged on, releasing another 16 albums over the next 30 years. 

Lemmy's hard-living lifestyle was legendary, full of heavy drinking, speed and smoking. He died at the age of 70 in December 2015 from prostate cancer (only diagnosed a few days before he died), cardiac arrhythmia and congestive heart failure. Taylor also died in 2015 and Clarke in 2018.

And after Lemmy's death, "Ace of Spades" became a hit again, reaching #13 on the U.K. Singles Chart. Even in death, Lemmy kicked ass.


Monday, March 25, 2024

Day After Day #82: Baker Street

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).  

Baker Street (1978)

As you can imagine, life was a lot simpler in the summer of 1978. I was 10, in between fifth and sixth grades, and living it up, at least as much as a 10-year-old can. Both my parents worked, so as a prototypical latchkey kids of the '70s, I was pretty much left to my own devices all day. Except for a six-week stretch when I was bused to day camp (which was pretty fun), I was riding my bike all over town, playing baseball and street hockey with my friends and generally just out goofing off until dinner time.

I wasn't buying music yet but I was listening to it a lot courtesy of the Toronto Top 40 stations, CHUM-AM and CFTR. Top 40 back then was pretty all over the place. For example, CHUM would publish weekly charts of the top 30 songs. For July 15, 1978, the top song was Meat Loaf's "Two Out of Three Ain't Bad," followed by the Rolling Stones ("Miss You"), Gerry Rafferty ("Baker Street"), Bonnie Tyler ("It's a Heartache"), Jackson Browne ("The Load Out/Stay"), Andy Gibb ("Shadow Dancing"), Billy Joel ("Only the Good Die Young"), Carly Simon ("You Belong to Me"), Bob Seger ("Still the Same") and Frankie Valli ("Grease"). Further down were the Band, Eddie Money, Genesis, Rod Stewart, the Commodores and Anne Murray. Like I said, all over the place. I hadn't discovered FM radio yet, but the AM stations were delivering a decent cross-section of what was happening, both good and bad.

One artist who got a ton of airplay that summer was the aforementioned Gerry Rafferty. The Scottish singer was previously in Stealers Wheel, who had a big hit with "Stuck in the Middle With You" in 1973 (which of course became popular again almost 20 years later when Quentin Tarantino used it in Reservoir Dogs). 

After that band split up, Rafferty was unable to release any material for three years because of legal issues. His first post-Stealers Wheel release was the 1978 album City to City and it was huge, thanks to the lead single "Baker Street." Goddamn, I loved that song. It went to #1 in Canada (and #2 in the U.S.) and was everywhere that summer, thanks to that killer sax part played by Raphael Ravenscroft. 

Rafferty wrote the song during that time when he was embroiled in legal problems. He was staying at a friend's place on Baker Street in London at the time when he was in town to meet with lawyers.

"Winding your way down on Baker Street/Light in your head and dead on your feet/Well, another crazy day/You'll drink the night away/And forget about everything/This city desert makes you feel so cold/It's got so many people, but it's got no soul/And it's taken you so long/To find out you were wrong/When you thought it held everything."

The song ends on a positive note, possibly inspired by the resolution to the legal mess Rafferty found himself in, carried out by a hot guitar solo.

"He's got this dream about buying some land/He's gonna give up the booze and the one-night stands/And then he'll settle down/In some quiet little town/And forget about everything/But you know he'll always keep movin'/You know he's never gonna stop movin'/'Cause he's rollin', he's the rolling stone/When you wake up, it's a new mornin'/The sun is shining, it's a new mornin'/You're going, you're going home."

There's been a lot of back and forth over the years about who came up with that iconic sax riff. Ravenscroft claimed he came up with it while Rafferty said he told Ravenscroft what to play. A remastered version of City to City was released in 2011 and included the original demo of "Baker Street," complete with the riff played on electric guitar. 

Slash later cited the sax riff as an influence on his guitar solo on Guns 'N Roses' monster hit "Sweet Child o' Mine." The Foo Fighters covered the song as a B-side to their song "My Hero," playing the riff on guitar. It's okay, but it's not as good as the original.

Rafferty had another hit with the next single off City to City, "Right Down the Line," which is an excellent song. He had a few minor hits off his next album, but his subsequent albums didn't perform well. He didn't like to tour, which didn't help matters. Rafferty had a serious alcohol problem throughout his life that ultimately led to his death in 2010 of liver failure.

It was a sad ending, but when I think of Gerry Rafferty, I think of "Baker Street" and that carefree summer of '78.

 

Sunday, March 24, 2024

Day After Day #81: Rise

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).   

Rise (1986)

There are many ways to approach the making of an album. You can do it all yourself like Prince or Stevie Wonder. If you're in a band, the members of the group do all the work. Or if you're a singer, you can just get a bunch of session guys to play on it. 

John Lydon (the artist formerly known as Johnny Rotten) had forged a fairly successful and interesting path after leaving the Sex Pistols in 1978, forming the experimental "anti-rock" band called Public Image Ltd. He was joined by guitarist Keith Levene (an original member of the Clash), bassist Jah Wobble and drummer Jim Walker. PiL made three albums with different variations of that lineup until 1984, when everybody but Lydon had left. 

In 1984, PiL made an album called Commercial Zone with Levene, but it was re-recorded after he left the group. The resulting album This is What You Want...This is What You Get was made with session musicians and got middling reviews (it featured some songs written for the soundtrack of the 1983 movie Copkiller, starring Harvey Keitel and Lydon as a serial killer targeting cops). 

For his 1986 follow-up, Lydon had producer Bill Laswell recruit an all-star group of musicians. He had been working with a group of young musicians but felt they weren't up to snuff for the new material. Laswell pulled in a diverse group of pros including guitarist Steve Vai, cranky drummer Ginger Baker, Tony Williams (a drummer who had played with Miles Davis), Bernie Worrell and Ryuichi Sakamoto. 

The album was called Album in a nod to generic brand products that were being sold in the early '80s; the CD was called Compact Disc, the cassette was called Cassette, etc. Although the SF punk act Flipper had done something similar in 1982, releasing Album - Generic Flipper; they responded to the PiL release by calling their 1986 live album Public Flipper Limited Live 1980-1985.

The first single from PiL's Album was called "Rise" (although it was packaged as "Single"). Written with Laswell, Lydon said the song was about apartheid in South Africa, specifically about Nelson Mandela, who at the time was serving 27 years in prison for opposing the racially segregated government. He also referenced the strife in Northern Ireland.

Featuring Vai on guitar, Sakamoto on Fairlight CMI synth, Laswell on bass, Williams on drums and L. Shankar on violin, the song starts off with a simple drum beat leading the way.

"I could be wrong, I could be right/I could be black, I could be white/I could be right, I could be wrong/I could be white, I could be black/Your time has come, your second skin/The cost so high the gain so low/Walk through the valley/The written word is a lie."

While Lydon uses the old Irish saying "May the road rise with you" as the chorus, he also counters it with the hook "Anger is an energy," which is one of the great lines from a rock song ever.

Vai, who was playing lead guitar in the metal band Alcatrazz at the time, was flown in between live gigs to play his parts. Laswell asked Vai to listen to some different types of world music to get a different feel than the traditional hard rock solos he would play. Although Vai first came up playing in Frank Zappa's band, so he definitely knew from weird. And on "Rise," he played a sweeping solo that fit in with the airy feel of the song. It's objectively hilarious (and pretty cool) that a few months after Album was released, Vai was making his guitar talk to David Lee Roth on the singer's Eat 'Em and Smile record.

"Rise" was a hit in the U.K., where it was #11 on the singles chart and in Ireland, where it hit #10. It didn't chart in the U.S. but it got plenty of play on rock radio and on MTV. Album got up to #14 on the UK chart and #115 on the Billboard 200 in the U.S. 

For the subsequent tour, Lydon recruited guitarist John McGeoch (ex-Magazine and Siouxsie and the Banshees), guitarist Lu Edmunds (the Damned), bassist Allan Dias and drummer Bruce Smith (formerly of the Pop Group and the Slits). That lineup remained together to record 1987's Happy? and 1989's 9 (although Edmunds had departed due to tinnitus problems). I saw PiL open for INXS on the Kick tour at Radio City Music Hall in NYC in March 1988 and it was great, especially as Lydon was gleefully horrifying the audience of teenage girls there to see INXS.

PiL released one more album, 1992's That What is Not, before going on hiatus. Lydon reunited with the Sex Pistols for a tour in 1996 (and later again a few times in the 2000s) and released a solo album in 1997 that I honestly have zero memory of. PiL reunited in 2009. The band has released three albums since, including 2023's End of World. 

Lydon's image has evolved over the years. He's done commercials for butter, appeared on Judge Judy and The Masked Singer and entered the Eurovision Song Contest. He became a U.S. citizen in 2013 and voiced support for Barack Obama, but in recent years he's become a Trump supporter. He's also dealt with some tough personal travails, taking care of his wife as she battled Alzheimer's disease and eventually passed away last year.


Saturday, March 23, 2024

Day After Day #80: Sundown

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).  

Sundown (1974)

For many a Canadian kid in the mid-1970s, Gordon Lightfoot was an artist you constantly heard on the radio, whether you wanted to or not. Straight outta Orillia, Ontario, Lightfoot was a folk singer who was a fixture in Canada since the early '60s but didn't break through in the U.S. until 1971 with "If You Could Read My Mind" (#5 on the Billboard Hot 100). 

Lightfoot was prolific in the '70s, releasing eight albums. But 1974's Sundown was his biggest, hitting #1 in the U.S. and Canada. The title track did the same, a quiet but dark bluesy number about a man wondering what his girlfriend is up to. 

"I can picture every move that a man can make/Gettin' lost in her lovin' is your first mistake/Sundown, you'd better take care/If I find you've been creepin' round my back stairs/Sometimes I think it's a sin/When I feel like I'm winning when I'm losing again."

But the back story of the song reveals an even more interesting tale because the song was written about Cathy Smith, who was once a backup singer for The Band. Lightfoot hired Smith to work for him and then began having an affair with her (he was still married at the time). He was involved with Smith for three years and at times was obsessively jealous about her, once firing an opening act because he thought they were flirting with her. It wasn't until 2008 that he admitted "Sundown" was written about Smith.

Smith's story grew even more infamous after she left Lightfoot. She became a drug dealer, selling to Keith Richards and Ronnie Wood when they were touring as The New Barbarians. Smith eventually began selling drugs to John Belushi, and she admitted injecting Belushi with 11 speedballs (cocaine and heroin), which ultimately led to his death in 1982. She ended up admitting what she did to the National Enquirer, but she moved to Toronto and didn't return to the U.S. until 1986, when she pleaded guilty to involuntary manslaughter and several drug charges. She served 15 months in prison and then was deported to Canada after her release. She died in 2020.

Lightfoot, on the other hand, continued to thrive. His 1975 song "Rainy Day People" (also reportedly about Smith) went to #26 on the Billboard Hot 100. He had a #2 hit in the U.S. with his 1976 song "The Wreck of the Edmund Fitzgerald" and another top 40 hit in 1978 with "The Circle is Small (I Can See It in Your Eyes." He continued to release new music through the '80s and '90s, but had a series of serious health problems in the 2000s. Lightfoot kept touring throughout. He died in 2023 of natural causes at the age of 84.

I never owned any of Gord's music, but I've always known it. My parents would listen to easy listening stations when I was a kid, usually Toronto's CHFI, and Lightfoot was on all the time. Even at a young age, I could tell Lightfoot wasn't playing boring old fogey music like Paul Anka or Engelbert Humperdinck. "Sundown" always had a sinister edge to it, which I always appreciated.

"Sometimes I think it's a shame/When I get feeling better when I'm feeling no pain."


Friday, March 22, 2024

Day After Day #79: Life's What You Make It

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).  

Life's What You Make It (1986)

The early '80s was awash with new wave artists, but as the decade wore on, it was interesting to watch them evolve. In 1982, Talk Talk had almost immediate success in the U.K., scoring hits with the songs "Talk Talk" and "Today." The English band made a little headway in the U.S. with their debut album The Party's Over going to #132 on the Billboard Top 200 and "Talk Talk" hitting #75 on the Hot 100 singles chart. They had skinny ties and played the synth pop that the kids were into at the time.

Talk Talk released its second album, It's My Life, in 1984 and the title track was a hit pretty much everywhere but the U.K., going into the top 40 in both the U.S. and Canada and hitting #1 on the U.S. Dance Club Songs chart. It only got to #46 in the U.K.; it was re-released two more times, finally becoming a hit in 1990 when it went to #13. The video was notable because it featured singer Mark Hollis refusing to lip synch over scenes from a nature documentary; we didn't have MTV at the time, but I remember seeing it on a Boston afternoon TV show called Hot Hit Video. Almost 20 years later, No Doubt had a top 10 hit with a cover of "It's My Life."

The band changed up its sound on 1986's The Colour of Spring, replacing most of the synths with guitar, piano and organ as it moved toward a jazzier, more improvisational style. The album also featured a lot of guest musicians, including Steve Winwood and guitarist Robbie McIntosh of the Pretenders. The lead single, "Life's What You Make It," was a hit in the U.K., going to #16 on the singles chart. It did pretty well around the world but was less successful in the U.S., where it only got to #90 on the Billboard Hot 100 (although it was #22 on the Hot Dance Club Play chart and #26 on the Top Rock Tracks chart; it always cracks me up that there are so many different charts).

It's a majestic song, driven by an insistent piano line, steady percussion and a guitar hook played by David Rhodes (known for his work with Peter Gabriel, among others). Like "It's My Life," this song is highlighted by Hollis' emotional vocal delivery. Lyrically, it's repetitive, but it doesn't feel that way because the song is so great.

"Baby, life's what you make it/Can't escape it/Baby, yesterday's favorite/Don't you hate it?/(Everything's all right)/Life's what you make it/(Everything's all right)."

While Hollis doesn't get into details, the song seems to be saying that you can't dwell on what you did in the past, you need to live in the present. But it's unclear whether he is simultaneously implying that such a statement is also kind of trite. Whatever the case, it's a gripping song delivered by one of the more unique voices of that era.

Talk Talk only released two more albums before breaking up in 1991 after Hollis said he wanted to spend more time with his family. The other members went on to other projects and Hollis eventually released a solo album in 1998 that echoed the minimalist post-rock sound of the band's later work. He pretty much retired after that. He died of cancer at age 64 in 2019.

I didn't know much about Talk Talk other than their hits, but listening to some live performances from 1986, it's striking how much they had changed from when they first came on the scene.


Stuck In Thee Garage #520: March 22, 2024

I try to play a lot of new music on the show, but this week on Stuck In Thee Garage, we're going in the other direction. This installment does a little time traveling, going backwards from 2000 to 1971. Crank up the gigawatts!



This playlist goes over 88 mph:

Hour 1 

Artist - Song/Album

PJ Harvey - Big Exit/Stories from the City, Stories from the Sea

Pavement - Major Leagues/Terror Twilight

Cat Power - Cross Bones Style/Moon Pix

Elliott Smith - Ballad of Big Nothing/ Either/Or

Sloan - Nothing Left to Make Me Want to Stay/One Chord to Another

Rocket From the Crypt - Heater Hands/Scream, Dracula, Scream!

Superchunk - Saving My Ticket/Foolish

Morphine - A Head With Wings/Cure for Pain

The Afghan Whigs - Kiss the Floor/Congregation

Matthew Sweet - Divine Intervention/Girlfriend

World Party - Is It Too Late?/Goodbye Jumbo

De La Soul - Me Myself and I/3 Feet High and Rising

The Church - Reptile/Starfish

Prince - I Could Never Take the Place of Your Man/Sign o' the Times


Hour 2

R.E.M. - Begin the Begin/Lifes Rich Pageant

The Cure - Close to Me/The Head on the Door

Meat Puppets - Lake of Fire/II

The Fixx - One Thing Leads to Another/Reach the Beach

The Clash - Straight to Hell/Combat Rock

The Kinks - Destroyer/Give the People What They Want

Motorhead - The Chase is Better Than the Catch/Ace of Spades

Van Halen - Bottoms Up!/Van Halen II

The Jam - Down in the Tube Station at Midnight/All Mod Cons

Talking Heads - The Book I Read/Talking Heads '77

The Ramones - Beat on the Brat/Ramones

Parliament - Ride On/Chocolate City

David Bowie - 1984/Diamond Dogs

Iggy and the Stooges - Your Pretty Face is Going to Hell/Raw Power

Black Sabbath - St. Vitus Dance/Vol. 4

Paul and Linda McCartney - Dear Boy/Ram


Turn back the clock HERE, pal.


Thursday, March 21, 2024

Day After Day #78: The High Party

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4). 

The High Party (2003)

The last eight years have been an unrelenting shitshow at times, but it's easy to forget how insane the early 2000s were. From the delayed results of the 2000 presidential election (that was decided by the Supreme Court a month later) to the shock of 9/11 to the subsequent military actions in Afghanistan and Iraq, it was a pretty damn tumultuous time. 

Musically, there was a return to guitar-based rock going on, but bands like the Strokes and the White Stripes were getting a lot of the attention while some pretty impressive stuff was flying under the radar. One such example is Ted Leo, a Washington, DC-based indie rocker who previously led the mod-rock act Chisel in the mid-'90s. 

After producing for other artists and releasing a solo album in 1999, Leo formed a band called the Pharmacists and released an EP and a debut album, The Tyranny of Distance, in 2001. In addition to the punk he was known for, Leo melded in Celtic rock, pop and folk and created an incredible album that highlighted his high falsetto and his hot lead guitar chops. The album was a breath of fresh air and fortunately the jumping-off point for an impressive string of releases for Leo.

With 2003's Hearts of Oak, Leo and the Pharmacists delivered an impassioned collection of wordy, soaring, anthemic rock songs. Most of the hype went to lead single "Where Have All the Rude Boys Gone?", which paid tribute to two-tone ska acts like the Specials, the Selecter and the Beat, and rightly so. It's an awesome song. But the record is full of catchy rippers and a few of them highlight the state of the world at the time.

One is "The High Party," which targeted President George W. Bush's War on Terror, which expanded into Iraq about a month after Hearts of Oak was released in February 2003. Leo also references the events of September 11, which also happens to be his birthday.

"I'm looking at another day/To find that I've got nothing to say/Or I'm looking for another way/To process what happened on that birthday/And either way, if you're gonna call it art/Then there's a cup in front of you/And right away, if you're gonna play your part/You must drink it down, drink it down, drink it down."

The thought of getting involved in a perpetual war was enough to drive one to drink.

"And if there's a war/Another shitty war to fight for Babylon/It's the perfect storm in a teacup/But you must drink it down, drink it down, drink it down, drink it down/And what do you make of nights when you thought you'd make much more/Than being too drunk to turn the lights out and too tired to drink more?/And what does it take to not hear the cynics at your door/Saying it's time to turn the lights out and you want to keep it down/Keep it down, keep it down."

Add to that the amazing musicianship, from Leo's repeating riff to Chris Wilson's pounding drum work and you've got an epic protest song that only Ted Leo fans are familiar with. It's a goddamn shame, really. And the best part is it's an upbeat-sounding song even as Leo rails against the military expansion into the Middle East. 

"So I'm lifting up that poison cup/To drink a draft of propaganda/Or I'm giving up that other stuff/In hopes that it's gonna make me madder."

Leo followed up this album with another classic, 2004's Shake the Sheets (he's touring this summer to celebrate the album's 20th anniversary) and released two more albums with the Pharmacists through the end of that decade. He then teamed up with Aimee Mann to form The Both, releasing an album in 2014 and touring. Leo released a crowd-funded solo album, The Hanged Man, in 2017. He's reunited the Pharmacists for a few tours since then, and also toured with Chisel last year. 

I've had the good fortune to see Leo in concert several times, including opening for Pearl Jam in Mansfield in 2008 and seeing Chisel and the Pharmacists a few months apart in 2023 (the live clip below is from the show I saw in Somerville). He always brings a fiery and passionate approach to his live shows and to me is one of the best live acts going.


Wednesday, March 20, 2024

Day After Day #77: Gratitude

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).

Gratitude (1992)

It's interesting to watch artists grow and evolve. When the Beastie Boys first hit mainstream prominence in 1986 with Licensed to Ill, their image was of frat boy smartasses spraying beer and grabbing asses. In reality, the group had come out of the New York hardcore punk scene, opening shows for Bad Brains, the Dead Kennedys, the Misfits and Reagan Youth. 

The group did its first hip hop track, "Cookie Puss," in 1983 and began working rap into its act. Original drummer Kate Schellenbach (who later helped found Luscious Jackson) was let go as the Beasties developed their rap image, something Adam "Ad-Rock" Horovitz later said he regretted. After working with Rick Rubin, the band was signed to Rubin's Def Jam label and prepared that first album, which blew up with the success of "Fight for Your Right to Party." They combined big rock riffs with rap, included plenty of samples and a lot of New York attitude and became a huge hit. Opening for Madonna on The Virgin tour brought the Beasties to a much wider audience.

Their second album, the underrated Paul's Boutique, came out in 1989 and was more experimental than their debut. As a result, it didn't sell as well, but in retrospect is considered a pivotal and essential work. For the third album, the Beasties decided to play their instruments again, with Horovitz on guitar, Adam "MCA" Yauch on bass and Mike "D" Diamond on drums. There was still plenty of hip hop, but the band also incorporated punk and funk elements with the help of keyboardist Money Mark.

By '92, the music scene was getting a little less segmented, with audiences embracing Nirvana and Soundgarden as much as they did hip hop artists like Public Enemy and Ice Cube. The success of Lollapalooza, which included Ice-T and Cube in its first few iterations, also spoke to that. And Check Your Head, with its feet firmly planted in both worlds, became a crossover hit. The Beasties brought Rollins Band and Cypress Hill on the Check Your Head tour, further cementing that punk-hip hop cross-pollination. 

The album blew up right away with hip-hop singles like "Pass the Mic," "So What'cha Want" and "Jimmy James," but next single, "Gratitude," spoke to rock fans directly. Leading off with a fuzz bass riff from MCA, Ad-Rock launches in sounding badass but talking about something really meaningful: appreciating what you have while you have it.

"Good times gone, and you missed them/What's gone wrong in your system?/Things they bounce like a Spaulding/What'd you think, did you miss your calling?/It's so free, this kind of feeling/It's like life, it's so appealing/When you've got so much to say it's called gratitude/And that's right."

Ad-Rock then rips into a hot guitar solo, heavy on the wah wah.

"Good times gone, but you feed it/Hate's grown strong, you feel you need it/Just one thing, do you know you?/What you think, that the world owes you?/What's gonna set you free?/Look inside and you'll see/When you've got so much to say it's called gratitude/And that's right."

The video for this song has the Boys playing in the middle of a New Zealand desert, using Pink Floyd's vintage amps. I remember seeing this and, not knowing much about their punk background, being impressed at their musicianship. I think a lot of rock fans who may have already liked them grew to be that much more appreciative of their skills. They weren't just Bud-swilling bozos riding giant inflatable microphones that looked like phalluses around. Hell, even Beavis and Butt-head loved the song.

The Beasties followed this album up with an even bigger record, 1994's Ill Communication. The song and video for "Sabotage" were monster hits and the group became one of the biggest in music. They released four more albums, the last being Hot Sauce Committee, Part 2 in 2011.

In July 2009, Yauch announced doctors had found a cancerous tumor in his parotid gland and a lymph node. When the Beasties were inducted into the Rock Hall of Fame in 2012, Yauch wasn't able to make it because he had been admitted to the hospital. A few weeks later, he died from cancer at the age of 47. Horovitz and Diamond have kept the band's memory alive with a book and documentary. It's called gratitude, and that's right.


Tuesday, March 19, 2024

Day After Day #76: Summer Babe (Winter Version)

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).

Summer Babe (Winter Version) (1992)

The early '90s were a fun time for fans of so-called alternative rock. The AOR/arena rock/hair metal sound was getting stale. Meanwhile, underground bands were starting to get more attention. Indie labels had been releasing interesting music for quite a while, but there was a wider audience for it now. 

In 1992, Matador Records took a chance on an unknown post-punk act from Stockton, California called Pavement. They had released three EPs in the previous few years before Slanted and Enchanted came out in April '92. 

Led by the snarky Stephen Malkmus, the band eschewed traditional pop song structures, drawing inspiration instead from bands like The Fall (something that band's leader Mark E. Smith was not thrilled about) and Swell Maps. They played noise rock, but did so with a shambolic swagger that perfectly captured the Gen X slacker vibe that was starting to take hold.

The lead single, "Summer Babe (Winter Version)" was actually released the previous summer on Drag City as "Summer Babe"; a different mix opened Slanted and Enchanted. Pavement didn't write love songs, per se, but this one has Malkmus singing about one particular woman who he's interested in.

"My eyes stick to all the shiny robes/She wear on the protein delta strip/In an abandoned house, but I will wait there/I'll be waitin' forever."

Malkmus and Scott "Spiral Stairs" Kannberg provide lo-fi, rumbling guitars. At this point, the band was a trio, with Gary Young on drums. They would add bassist Mark Ibold and percussionist Bob Nastanovich when they started playing live shows. 

"Minerals, ice deposit daily/Drop off the first shiny robe/I've got a lot of things I want to sell, but/Not here babe/You took 'em all."

He waits and waits and waits before proclaiming her his summer babe. 

Slanted and Enchanted got critical raves and the band became proclaimed indie darlings. Their 1994 follow-up Crooked Rain, Crooked Rain even featured a radio and MTV hit in "Cut Your Hair." They released three more fine albums before calling it quits in 2000. Malkmus went on to a solid solo career. The band has reunited a few times to tour, including in 2022-23.

I missed them when Slanted and Enchanted first came out, but saw them on the Crooked Rain, Crooked Rain tour at the old Venus de Milo club on Lansdowne Street. I also saw Pavement on their 1997 and 1999 tours, and have seen Malkmus solo a few times, but I haven't seen them on any of their reunion dates.


Monday, March 18, 2024

Day After Day #75: Word Up!

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).

Word Up! (1986)

When you watch old music videos on YouTube, one thing you notice a lot is commenters pining for the good ol' days. The comments usually are along the lines of "This takes me back to when music was great, not like the crap we have today" or "I was 25 when this came out with a full head of hair and a Camaro. Now my wife left me and everything sucks." 

I'm not going down that road because I have no desire to go back to my youth, but there was definitely plenty of fun music going down in the '80s. Case in point, the funky lunatics in Cameo were one of the weirdest and best party acts going. In 1986, they were riding high but they took a long road to get there.

Larry Blackmon (the dude with the red codpiece) formed the band in 1974 as the New York City Players; they were signed by Casablanca Records imprint Chocolate City the following year as The Players, but they had to change their name after Mercury Records said it was too similar to the Ohio Players. The name Cameo came from a Canadian brand of cigarettes they had seen.

They were a hard funk act similar to Parliament when they started out, but Cameo expanded their sound to appeal to the burgeoning dance scene. Cameo did well on the R&B charts with songs like "Flirt" and "Shake Your Pants" but they started to break through to a wider audience in 1984 with the title track to their album "She's Strange," which got to #47 on the Billboard Hot 100 chart.

On their 13th album, 1986's Word Up!, Cameo hit it big. The title track is totally 1986: monster funk riff, plenty of synths and horns, Blackmon's funkier-than-funky vocals, some guitar flourishes and a ridiculously catchy chorus, as well as the opening notes of the theme to The Good, The Bad and the Ugly. Oh, and it had a video featuring Levar Burton that was on MTV all the time.

"Wave your hands in the air/Like you don't care, glide by/The people as they start to look and stare/Do your dance, do your dance quick/Mama, come on baby, tell me what's the word, ah, word up."

It's one of those songs that never fails to fill up the dance floor and it certainly took off in 1986. It was Cameo's first top 40 hit in the U.S., shooting all the way to #6 on the Billboard Hot 100 and #1 on the R&B chart and the Hot Dance Singles chart. It was also a big hit in the U.K., spending 10 weeks in the top 40 over there and peaking at #3.

"Now all you sucker DJs/who think you're fly/There's got to be a reason/And we know the reason why/You try to put on those airs/And act real cool/But you got to realize/That you're acting like fools/If there's music we can use it/We need to dance/We don't have no time for psychological romance."

Cameo had another top 40 hit with the follow-up single "Candy," and the Word Up! album went platinum, going top 10 in both the U.S. and the U.K. That was the height of the band's popularity, though, as subsequent albums fared less well. The band kept going until 2000, when it went on hiatus. Cameo reunited in 2016 for a Las Vegas residency.

The song "Word Up!" has been covered by several artists, including Korn (not good), Mel B (aka Scary Spice, from the Austin Powers 2 soundtrack), Scottish hard rock act Gun and British girl group Little Mix. Hopefully they made Blackmon and Cameo some more money to keep those red codpieces in stock.


Sunday, March 17, 2024

Day After Day #74: The Body of an American

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).

The Body of an American (1986)

It's St. Patrick's Day so it kinda makes sense to write about the Pogues. I mean, I could have gone with U2 or the Mama's Boys cover of "Mama Weer All Crazee Now," but let's stick with the real deal here. I was never a Pogues fan when they were a going concern. I knew about them but didn't really pay attention, but I have come to appreciate them over the years.

Formed in London in 1982, the Pogues combined punk rock with traditional Irish music. Their original name was Pogue Mahone, the phrase James Joyce coined from the Irish phrase pog mo thoin, which meant "kiss my arse." Led by frontman Shane MacGowan, the band played in London clubs before opening for the post-Mick Jones lineup of The Clash on their 1984 tour. Shortening their name to the Pogues to avoid BBC censorship, the band released their first album Red Roses for Me in October 1984, mixing covers of traditional Irish songs with originals written by MacGowan.

Their second album, 1985's Rum Sodomy & the Lash, was produced by Elvis Costello. It put the Pogues on the map, hitting #13 on the UK album chart and featured their cover of "Dirty Old Town" and originals "A Pair of Brown Eyes" and "Sally MacLennane." The band then released an EP of songs recorded with Costello the year before, Poguetry in Motion, in February 1986. In addition to "A Rainy Night in Soho" and "London Girl," the EP included the song I'm writing about today, "The Body of an American."

Written by MacGowan, the song tells the tale of an Irish immigrant named Big Jim Dwyer, a boxer, who is being remembered at his wake.

"When we turned and shook as we had a look/In the room where the dead men lay/So Big Jim Dwyer made his last trip/To the shores where his father laid/But 15 minutes later we had our first taste of whiskey/There was uncles giving lectures on ancient Irish history/The men all started telling jokes and the women, they got frisky/By 5 o'clock in the evening every bastard there was piskey."

The Pogues played the song when they appeared on the St. Patrick's Day 1990 episode of Saturday Night Live, with the apparently drunk MacGowan smoking a butt and drinking while sitting on the drum riser during the final instrumental section.

In the great HBO series The Wire, creator David Simon used the song three time in scenes of wakes for Baltimore police detectives. The dead cop was laid out on a pool table at Kavanaugh's Tavern as his fellow detectives remembered him with an elegy and then sang "The Body of an American." The last took place in the final episode of the series, when Det. Jimmy McNulty was given a "wake" after he left the force, even though he was very much alive. An amazing end to an amazing show.

"Fare thee well, gone away, there's nothing left to say/But to say adieu to your eyes as blue as the water in the bay/To Big Jim Dwyer, the man of wire who was often heard to say/'I'm a free born man of the USA.'"

As for the Pogues, their popularity grew in the late '80s. Their cover of "The Irish Rover" with the Dubliners was a huge hit in '87, followed by their Christmas single "Fairytale of New York," a duet with Kirsty MacColl that was a monster hit (#1 in Ireland, #2 in the UK) and remains a holiday classic in the UK and really, everywhere. 1988's If I Should Fall From Grace with God was a big hit in the UK and an underground hit in the U.S. The band released two more albums with MacGowan before firing him during a 1991 tour after his drug and alcohol use got out of control. The Pogues forged on with Joe Strummer and later band member Spider Stacy as frontmen, releasing two more albums before splitting up in 1996. They reunited with MacGowan for tours starting in 2001 and ending in 2014. Guitarist Philip Chevron died in 2013, bassist Darryl Hunt died in 2022 and MacGowan passed last November.

But the band lives on through its timeless music, especially on St. Paddy's Day.

 

 

Day After Day #335: Father Christmas

Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4). Father Christmas (1977) With Christmas r...