5) The singer from Workin’ Class (best country cover band in Chicago when I worked for STATS, Inc. in the 1990s) and I used to discuss whether this was just Buck’s nice way of saying, “who’s gonna kiss your ass?” What do you think?
6) There’s a really lame live Hee Haw version on youtube with an accompanying awful video which is the perfect example of the buffoonery Buck Owens was subject to in the 1960s. There’s also a pretty good cover version by the Derailers with an accompanying pretty cool video, but it’s not as good as the original, which I give you now:
I tried to write about this song as politics, because clearly Buck’s perspective on the benefits and costs of welfare in 1966 were courtly and open-armed. At least until he got a hug in and a kiss. But clearly Buck’s metaphor is romantic, not political, and it better serves this funny novelty to remind us that there was a time, say 1966, when the basic idea of government services providing a safety net and a leg up were not seen as some sort of political litmus test. Even if he’s driving a Cadillac.
I don’t think the general population disagrees with this any more than they did back then, but the schism is much more sharp today.
In any case, back in those simpler times a crazy extended metaphor could spend ten weeks at No. 1, and Big Government looked a lot like busted love.
Every week on my show on FNTSY (the Tout Wars Hour, 9-11 PM, ET every Thursday night he plugged shamelessly) I ask my special guest to reveal a favorite album, movie, TV show, athlete to watch, and food and the list, as Fantasy now spreads generations, is big fun.
There are wonderful surprises like Tim McLeod loving Sunburst Finish by Be Bop Deluxe and Eno Sarris, being a fan of his namesake’s Taking Tiger Mountain by Storm.
A couple of weeks ago my special guest was Jeff Zimmerman, and when I suggested that basic script for the show that week I also noted that during our final five minute segment we do indeed review those pop items like players we like to watch and music we like to listen to.
Jeff warned me in advance that he was not that much of a music person, and I responded no problem, and there must be a Beatles or Stones or some kind of album or song in his head somewhere he liked and just do the best you can.
But, never, ever, ever, did I expect his actual entry to the list which is a blue grass cover of The Wall performed by Luther Wright and the Wrongs.
So, I went digging a little, and found the album, and during my guitar lesson that same week I asked my friend and mentor Steve Gibson if he knew about Luther and his band’s treatment of the Floyd.
Steve did not know The Wall specifically, but he was more than hep to Nashville musicians gathering and deconstructing famous albums and bands in a phenomenon known as “pick on,” as in “pick on Aerosmith” or “pick on AC/DC.”
I cannot say that this revisionism is totally my cup of tea as much as I like both the Floyd and blue grass. Clearly these guys are knockout musicians, but I think I actually prefer to hear them cover the Carters and Irish jigs, but just discovering this subculture of music was a kick and a half.
This is Luther’s treatment of my favorite tune from the Floyd album. I still prefer David Gilmour’s chorusy guitar ripping through, but this is still pretty good.
There are very few bands I would pay money to see in 2017. The Raveonettes, Social Distortion, I’m sure Bryan Ferry/Roxy Music would still be worthwhile, a few others I guess. And these guys. Name a better band. Really, I want to hear them.
One of the most popular SotW posts I’ve written was for “L’Via L’Viaquez” by the Mars Volta (August 30, 2014). It has received over 800 hits on this Rock ‘n’ Roll Remnants blog.
The Mars Volta rose out of the ashes of another punk band called At the Drive In, so it was only a matter of time before I posted about them. AtDI recently reunited, 17 years after their initial break up (and released a new album called in•ter a•li•a) making now as good a time as any to delve into their history and music.
In the early 90s, guitarist Omar Rodriguez-Lopez met singer Cedric Bixler-Zavala at an El Paso punk club called the Dead End. Cedric formed several bands before recruiting Jim Ward and Omar to form AtDI. Over the next few years and multiple line ups (Ward joined and left the band several times) the group settled with the original three plus the rhythm section of bassist Paul Hinojos and drummer Tony Hajjar.
Fighting over artistic direction, exhaustion from relentless touring and the scourge of excessive drug use all converged to cause the band to call it quits in 2001.
Today’s SotW is “Pattern Against User” from AtDI’s 2000 album Relationship of Command.
According to Wikipedia, “Relationship of Command is now seen as one of the most influential rock albums of the decade, receiving accolades such as being ranked 47th in the 50 Greatest Albums of the 21st century in Kerrang!, number 83 on Spin Magazine’s 100 Greatest Albums 1985–2005, as well as number 90 on MTV2‘s greatest albums ever list.”
The new album has the band back in form and is worth checking out on Spotify.
So, this was from a live tribute to Paul McCartney at the White House. It has the White House logo on it.
It’s new to me. And wildly spirited and emotional, partly because Costello’s mum’s connection, but also because Costello is full of fire. And so is the band, especially the horn player, who comes from the president’s own band.
We knew this was coming. The Big A claimed him some years back and he had a dignified last stand.
But today, my first thought was Gentle on My Mind, which is I think the first time I ever knew his name.
My second thought was watching them shoot Rhinestone Cowboy, the movie, on Bank Street. By them I mean Dolly Parton and Sylvester Stallone.
My third thought was plumbing the depths of Campbell’s time in the Wrecking Crew and the Beach Boys.
But finally, really, this bit of corny soundtrack to a good movie he starred in and contributed the soundtrack is a testament to his giant talent and versatility and big hearted spirit. A little more country than rock ‘n’ roll, a little more mainstream than any of us would like, he cut a big swath across the culture. Good for him.
