Monthly Archives: May 2017

1970 Classic Nuggets: Tighter, Tighter, and Ride Captain Ride

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The good old Spotify shuffle dug these choice pop tunes from 1970 out the other day as I was driving to the golf course (was I driving in order to drive?) and I was reminded of a couple of things.

One, is both are just classic pop/rock gems from the era, with pretty lush and thoughtful productions. The second is both songs feature not just one, but two guitar solos, the first of which falls after a couple of verses, the second to close out the song.

What is different is that in both, that second solo gives the guitar player a chance to cut loose, and by most 1970 pop song standards, both guys shred and push their sound as much as anyone.

First off is Tighter, Tigher, by Alive’n’Kicking. Alive’n’Kicking were actually discovered by Tommy James, who got the group signed to his Roulette label. James wrote the song Crystal Blue Persuasion  for Alive’n’Kicking, but liked it so much he kept the song for the Shondells.

However, as a gesture, James gave Tighter, Tighter to the band who scored a hit in a song which does bridge 60’s pop (ie, there are trumpets) with the pop influenced by Psychedelia and Brit Pop. Add that great Hammond organ, and guitar work by Dave Shearer and a sparkling catchy tune is the result. (Note these are two of the funkiest videos ever: maybe even funkier than those early Clash ones.)

The Blues Image were a Florida-based band who moved to LA at just the right time, making it to the strip and signed to Atco, releasing a second album in 1970 that included Ride Captain Ride.

For Ride Captain Ride Kent Henry–who went on to play with Steppenwolf–played the first solo and fills, and then Mike Pinera did the shredding at the end. Pinera moved on to play with Iron Butterfly and then Alice Cooper, and his band-mates did work with Crosby, Stills, Nash, and Young, and Manassas. (This is one funky video, BTW.)

It is kind of sad that song production has changed from those lush 60’s sounds of Motown and Phil Spector and George Martin, to Jack Nietschze and Sonny Bono, and even into guys like Steve Lillywhite. Somehow, though, it seems like electronics have kind of purified music kind of like CGI has changed film.

I am OK with that progress, but that doesn’t mean I don’t miss what used to be too.

Hank Wood and the Hammerheads, Go Home

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I’m halfway through this elpee on YouTube, listening at top volume while editing the biographical info of quarterbacks for the Fantasy Football Guide. Blame Hank and Co. for any errors.

There aren’t many modern punk bands that grab me, but this is clangorous driving rock n roll, a little garage-y, with some fun song ideas a la the first and second wave of bands with ugly album covers. These guys have that, too. But they don’t sound derivative so much as inspired to make their own noise. So they do!

I think this is their first album. The second one is called Stay Home, or it could be the other way around.

A Bob Lefsetz Anecdote about Gregg Allman

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I’ve quoted Bob Lefsetz’s newsletter before. He’s a former music industry guy who, in his later years writes about a range of topics in an energetic and provocative way. Provocative mostly because he states his opinions directly. You can read and subscribe to his stuff here. In a post this week he wrote a history of the Allman Brothers and Gregg, and his first personal encounter with Gregg. I quote:

ANYTHING GOES

My favorite cut on the “I’m No Angel” album, there’s a moment, after the break, when Gregg Allman reaches down deep and at the top of his lungs screams…ANYTHING GOES! It’s at 3:20in the song if you wanna check it out, and it’s moments like these that are personal, that keep you going, putting one foot in front of the other, so when we were hanging out before the show…

Yes, I ain’t got no money, but I’m rich on personality, and that has allowed me to meet all my heroes, get e-mail from them, it thrills me, and about an hour before they took the stage at the Greek I was introduced to Gregg and I had to ask him, about that emotive explosion.

Now you’ve got to understand, they’re not like you and me.

First and foremost, he was wearing his boots, the original American rockers never got over the Beatles. And he’s towering above me, and he leans down to my ear, his long hair almost falling on my shoulder, and he starts whispering, telling a story, sotto voce, like we’re the only two people in the universe, like he’s gonna reveal a deep dark secret.

“I can’t hit that note every night. But there are certain evenings, when I’m sitting on the piano bench, and I reach over to hit a note and my left nut gets caught under my leg and I yell ANYTHING GOES!”

I swear to god, just like that, that’s about an exact quote.

And he backs off, stands straight, but gives me a poker face, and I’m not sure if he’s making fun of me, pulling my leg, putting me down, or initiating me into the ways of the road, making me an honorary insider, but one thing’s for sure, he was still COOL!

I don’t know. You be the judge. I remember this album, and it seemed Gregg modernized and wrapped in frou frou. Not terrible, his was a great voice, but this was not music from our roots.

But if Gregg explained this moment to Bob this way, it’s very swell, no matter if it is actually true. A fine ad lib. Check it out:

 

More Baseball Fun

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Outfielder Franchy Cordero was recently brought up from the minors for the San Diego Padres. The last guy I knew named Franchy (sort of – no idea if it’s even pronounced the same), was early Misfits guitarist Franche Coma, who plays on the legendary Bullet EP – and other stuff – of course.

And about the fifth youtube comment down is from “J Sickels.” Doubt it’s the same guy but if so, that would be so much baseball fun our heads would explode.

Truth be told, when I bought this single as a 17-year-old I didn’t think music could get much better than this. The early genius of the Misfits still holds up.

So when you see some dumbass little kid poser at the mall today in his Misfits t-shirt, punch him in the stomach for Franche Coma and Franchy Cordero.

Song of the Week – Name For You, The Shins

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IGNORED OBSCURED RESTORED

The first time I ever heard (or heard of) The Shins was on the soundtrack for Garden State. The 2004 rom-com’s soundtrack included 2 songs by The Shins but the one that made an immediate impact on me was the memorable “New Slang.” I had a little catching up to do.

By the time their third album — Wincing the Night Away – was released in 2007, I was a solid fan.

This year the Portland, OR based outfit (basically James Mercer and some sidemen) has released its 5th album, Heartworms, its first in 5 years. And it is pretty damned good.

Today’s SotW is the album’s opener, “Name For You.”

In an age where “grabbing pussy” has been normalized by our commander-in-chief and celebrities from Bill Cosby to Bill O’Reilly are accused of serial sexual assaults, it’s about time that we have a song (written by a man) that addresses women’s empowerment. In a recent Mojo interview, Mercer said of the song he was inspired to write because he has three daughters:

“I don’t want women in general to have to put up with frat-boy bullshit. I think I’m more sensitive to the issues because of my family life, but douche-baggery has always pissed me off. I think everyone should own their own sexuality and not be reliant on the society around them for some sort of approval.”

The serious nature of the song is offset by the catchy melody (a Mercer trademark) over a reggae-ish rhythm and effervescent guitars and keyboards.

Enjoy… until next week.