Category Archives: song of the week

Song of the Week – Epistle to Dippy & Barabajagal, Donovan

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My appreciation for the music of Donovan (Leitch) has been somewhat of a roller coaster ride.

When I was a kid I was captivated by some of the early hits by Donovan. “Sunshine Superman” reached #1 and “Mellow Yellow” came close, stopping at #2, both in 1966.

As my taste in music became more mature, I looked back on those hits as novelties and moved on. That caused me to ignore future hits like “Hurdy Gurdy Man” (a weak Dylan rip off) and “Atlantis.”

But several years later I learned that he wrote a Judy Collins song I liked, “Sunny Goodge Street,” and “Season of the Witch” that was the highlight of the Kooper/Stills/Bloomfield Super Session album.

More importantly, I learned that Donovan went with the Beatles (my heroes) to Rishikesh, India in 1968. While there he taught Lennon and McCartney a finger picking guitar style that they soon employed on several White Album songs, like “Dear Prudence,” “Julia,” “Mother Nature’s Son” and the lovely evergreen “Blackbird.” That earned him some mega cred in my book.

So I did more digging and discovered this credibility and respect carried over to a long list of rock royalty… which brings me to the SotW.

“Epistle to Dippy” features Jimmy Page on guitar. Actually, Page played on numerous Donovan songs including the aforementioned “Season of the Witch” and “Sunshine Superman.”

This track “only” reached #19 in the US. The lyrics of “Epistle…” are written in the form of a letter to a friend that joined the army. In subsequent interviews Donovan has shared that he hoped is friend Dippy would hear the song and contact him. He also claims to have “bought” Dippy out of his service enlistment, apparently something you could do in England back then.

In 2008 the ithinkihatemy45s blog wrote:

The non-LP “Epistle to Dippy” is one of the best from this period, a lysergic, almost Barrett-esque single with sproingy guitars, sawing cellos, and a harpsichord break. Even though some of the lyrics are, uh, dated (“Look on yonder misty mountain / See the young monk meditating,” “Elevator in the brain hotel,” etc.), give it a pass for its great arrangement, great spaced-out vocal, and great melody; this is easily in the same league as killers “Hurdy Gurdy Man” and “Sunshine Superman.” Donovan’s psychedelic pop – “Dippy” in particular – seems to be the reference point for the Rolling Stones’ strange attempts at the form in 1967: “Dandelion” and “We Love You” take more from records such as this one than they do any, say, Beatles disc.

Another great Donovan song is the title track from the album Barabajagal (1969).

On this one, Donovan is backed by the Jeff Beck Group – including Beck (guitar) Ron Wood (bass) and Nicky Hopkins (keys). They rock out while at the same time giving the cut a jazzy feel. The blue chip trio of woman background singers — Lesley Duncan, Madeline Bell and Suzi Quatro – adds a special spark to the recording.

The lyrics are incomprehensible – mostly nonsense syllables – but fun to sing and listen to.

So I vote that you take Donovan seriously (if you don’t already) and give his back catalog a listen. You won’t be disappointed!

Enjoy… until next week.

Song of the Week – Glamour Boys, Living Colour

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New York based funk metal band Living Colour burst onto the music scene in 1988 with the release of their debut album, Vivid. That album was popular; reaching #36 on the album charts on the back of the video for “Cult of Personality” that was in heavy rotation on MTV. It ultimately earned them an armful of Grammys and MTV VMAs.

Today’s SotW is “Glamour Boys,” also from Vivid.

Mick Jagger saw the band perform at a club and offered to produce a few songs for them. “Glamour Boys” was one of them. This relationship ultimately led to an invitation for Living Colour to be the opening band for the Rolling Stones’ Steel Wheels tour.

It was written by band leader Vernon Reid. It’s a social commentary on the late 80s, New York club scene and the dress and behavior of the wannabe wealthy kids that frequented them. That was something Reid witnessed firsthand and gave him the authority to write about.

The glamour boys swear they are a diva
The glamour boys have it all under control
Always dancing and always laughing
The glamour boys are playing the role

The glamour boys never have no money
The glamour boys wear the most expensive clothes
The glamour boys are always at the party
Where the money comes from heaven only knows

“Glamour Boys” has a reggae-ish donut with a fast tempo, a pop filling, and with a metal glaze on the choruses.

It’s all good fun… and you can even dance to it!

Enjoy… until next week.

Song of the Week – People Make the World Go Round, The Stylistics

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The Stylistics were one of the best soul groups of the early ‘70s. They scored numerous hits that crossed over to the pop charts on the strength of lead singer Russell Thompkins Jr.’s falsetto, the work of ace producer Thom Bell, and the songwriting by the team of Bell and lyricist Linda Creed. Between 1971 and 1974, they charted an impressive series of consecutive R&B Top 10 hits, including:

Stop, Look, Listen (#9 R&B, #39 Pop)
You are Everything (#10 R&B, #9 Pop)
Betcha by Golly, Wow (#2 R&B, #3 Pop)
I’m Stone in Love with You (#4 R&B, #10 Pop)
Break Up to Make Up (#5 R&B, #5 Pop)
You’ll Never Get to Heaven (#8 R&B, #23 Pop)
Rockin’ Roll Baby (#3 R&B, #14 Pop)
You Make Me Feel Brand New (#5 R&B, #2 Pop)

The best was 1972’s “People Make the World Go Round” (#6 R&B, #25 Pop), today’s SotW.

Bell and Creed’s orchestral style was often reminiscent of the Bacharach/David team. (Dionne Warwick probably agreed since she popularized so many Bacharach/David songs and also recorded a hit with the Bell/Creed penned “You’ll Never Get to Heaven.”) The similarity is especially evident in “PMtWGR,” with its use of mixed time signatures.

The track also follows the early ‘70s trend originated by Marvin Gaye and Stevie Wonder to write songs that reflected social issues of the day; in this case, addressing inner city issues like garbage and bussing strikes, and air pollution.

Trashmen didn’t get my trash today
Oh, why? Because they want more pay
Buses on strike want a raise in fare
So they can help pollute the air

The story behind this song’s chart success is that it was originally an album track, not intended for release as a single. But so many fans demanded radio airplay that the label rushed the record into release as a single. That was a good decision!

Enjoy… until next week.

Song of the Week – These Days, Nico, Gregg Allman, Ian Matthews, Mates of State

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One of my favorite artists in the singer-songwriter genre is Jackson Browne. I know, in these times when women are fighting to save themselves from sexual assaulters, coming out to pay tribute to Browne might not be politically correct. (He was accused of domestic violence against his then-girlfriend Daryl Hannah, since retracted – but the damage has been done.) I’m focused on the quality of his songs, not his personal life. Besides, he has been a solid citizen throughout his life, fighting for the environment and many other political causes that are important to him (and me).

Early in his career, his songs were recognized as gems by many prominent artists that recorded them long before he did. The list includes Tom Rush, Joan Baez, The Byrds, Eagles and Linda Ronstadt.

Today’s SotW is another installment of the “evolution” series, “These Days,” that is such a wonderful composition that it has been captured in outstanding performances by many artists.

Browne wrote “These Days” when he was about 16 years old. The first recording was done by Nico of the Velvet Underground on her solo album, Chelsea Girl (1967). Browne, who was at the time linked romantically with her, played electric guitar on the track.

Another outstanding version was laid down by Gregg Allman on his first solo album, Laid Back (1973). Browne himself said of Allman’s arrangement “that he really unlocked a power in that song that I sort of then emulated in my version.”

Allman learned the song when the pre-Allman Brothers band The Hour Glass was plying their trade in LA. His bluesy voice wrings out every drop of emotion that the song’s lyrics of sadness and regret have to offer.

Another fine version was recorded about the same time by Ian Matthews on his 1973 release Valley Hi – an album that Rolling Stone called “a sensuous delight.”

Matthews’ take has a little more of a pop feel, but still retains the song’s disconsolate sentiment.

A more modern approach was recorded by Mates of State. I prefer the live-in-studio track they cut for Daytrotter in 2006, but it’s not available on YouTube. So here’s the officially released version that was on the soundtrack to the film Wicker Park.

Mates of State are a husband and wife duo from CT via CA via KS. The simplicity of their keyboard, percussion and harmony version is charming.

Browne finally recorded his own version on his second album, For Everyman (1973). What else can I say about “These Days” other than it ends with one of the most poignant lines EVAH!

Don’t confront me with my failures / I had not forgotten them

The self reflective tone of the lyrics of “These Days” seems especially relevant as we near the year end.

Enjoy… until next week.

Song of the Week – Plimsoll Punks, Alvvays & Crash, The Primitives

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I always have a running list of song ideas for my weekly missive. “Crash” by The Primitives has been on it for a long time. I can’t really put my finger on the reason that I haven’t written about it sooner. But my inspiration to catch up comes from another band I’ve been listening to – Alvvays.

Alvvays (pronounced Always) is an outfit from Nova Scotia that’s now based out of Toronto. They released their second album, Antisocialites, last September. The SotW is “Plimsoll Punks.”

The first time I heard this burst of indie pop my mind began swirling with the antecedents that I was hearing in Alvvays sound. I heard Camera Obscura, a bit of Cocteau Twins and a super-sized serving of the Primitives.

There we go!!! I now have the connection I was looking for to include “Crash.”

The Primitives made a splash in 1988 with their album Lovely. Beside “Crash” the album had another song, “Way Behind Me,” that snatched a lot of airplay on indie and college radio stations.

Merry Christmas!

Enjoy… until next week.

Smithereens Comment

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For a long time, when I include a youtube link in my comments, it doesn’t flesh out, leaving a plain, unappealing link to click. Earlier today, the whole thing went kaput as when I typed all this in as a comment, it gave me some security error and nothing stuck at all.

So I’m doing this as a new post, lest I waste my time trying to comment again. Here we go:

I’ve always thought of Smithereens as a second-generation Hoodoo Gurus, a band I liked a lot way back when, but whose music doesn’t hold up for me anymore.

Early on in the Smither’s career, I read something that their goal was to combine The Beatles and AC/DC. A noble pursuit for sure, not that they ever achieved it. (If you want John Lennon and Black Sabbath – for real – it’s Uncle Acid.)

Got excited when I saw Tom’s title, anticipating a Smithereens cover of the original Behind The Wall Of Sleep. Oh well.

Song of the Week – Behind the Wall of Sleep, The Smithereens

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Last Tuesday, December 12th, Pat DiNizio of The Smithereens died at the age of 62. DiNizio was the main creative force behind the New Jersey based band; its lead singer, guitarist and main songwriter.

As a power pop fanatic, I always enjoyed the music of The Smithereens and was able to see them in concert back in the late ‘80s.

They had several “modern rock” hits played by progressive FM radio stations, including “Blood and Roses,” Only a Memory” and “A Girl Like You.”

Today’s SotW was another, “Behind the Wall of Sleep” from their 1986 debut, Especially for You.

The song opens with an obscure reference to Jean Shrimpton (does DiNinzio sing Jeannie Shipton?) who was a super model that, along with Twiggy, helped set of the mini skirt craze in the mid ‘60s.

She had hair like Jeannie Shrimpton back in 1965
She had legs that never ended, I was halfway paralyzed
She was tall and cool and pretty and she dressed as black as coal
If she asked me to I’d murder, I would gladly lose my soul

The woman the song was about was a girl named Kim Ernst, the bassist for an all-female, Boston based band called The Bristols.

The music is equally influenced by the British Invasion and garage rock sounds of the ‘60s. All very mod. In fact, The Smithereens recorded two albums of Beatles’ covers. Meet the Smithereens (2007) was a song for song replica of Meet the Beatles. B-Sides The Beatles (2008) was just as it says – covers of Beatles’ B-sides.

On the rarities compilation The Attack of the Smithereens (1995) the band exposed some of their other early influences with covers of The Beau Brummels’ “Just a Little,” and Frank and Nancy Sinatra’s “Something Stupid” – fun stuff worth hearing.

So long Pat, may you rest in peace.

Enjoy… until next week.

Song of the Week – Shine It All Around, Robert Plant

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Sometimes my inspiration for a SotW comes from the media I currently follow. In recent weeks Robert Plant has been making the rounds or in the news. Music biz blogger Bob Lefsetz wrote an interesting post about Plant’s interview with Howard Stern on October 17th. You can read his post and link to the Stern/Plant interview here:

http://lefsetz.com/wordpress/2017/10/26/robert-plant-on-howard-stern/

Later a friend of mine, William McD, sent me the link to this article in The Guardian from September where Plant discusses his back catalog:

Julie Rogers – A Life In Music, Robert Plant

These two coincidences led me to reevaluate Plant’s solo, back catalog. There are many interesting and wonderful songs to hear. One that really grabbed my attention is today’s SotW, “Shine It All Around.”

“Shine It All Around” is from Plant’s second album with the Strange Sensation called Mighty ReArranger (2005). It received a Grammy award for Best Solo Rock Vocal Performance.

And it has a very positive message, something the world can really use these days.

This is the land where I live
Paint it all over golden
Take a little sunshine, spread it all around
This is the love that I give
These are the arms for the holding
Turn on your love light, shine it all around

If you have access to a service like Spotify, please go back to listen to Plant’s solo repertoire. You will be soundly rewarded.

Enjoy… until next week.

Song of the Week – Holding On, The War on Drugs

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The War on Drugs was formed after Kurt Vile and Adam Granduciel met in Philadelphia in 2003, bonding over their shared Bob Dylan obsession. Vile left after their first album, Wagonwheel Blues, was released in 2008. The “bigly” talented Vile has established a very successful solo career that is worth checking out (and should be considered for a SotW), but his departure has not resulted in the demise of TWoD.

In fact, their subsequent albums — Slave Ambient (2011), Lost in the Dream (2014) and this year’s A Deeper Understanding – have all received favorable reviews from rock critics despite numerous personnel changes. (Granduciel and bass player David Hartley have been the only constants.)

Today’s SotW is “Holding On” from the new album.

What you will notice immediately is how much Granduciel’s vocal delivery pays homage to his idol Dylan. Sam Sodomsky, of Pitchfork, expounds:

“Holding On” is decidedly action-packed. Buoyed by Meg Duffy’s winding slide guitar and a bouncing synth line, it shifts from hook to hook—dazzling with its intricacy or washing over you with its smoothness, depending on how closely you’re listening. It ends with a glimmering descending melody and pitch-shifted vocal motif, maybe the first moment in a War on Drugs song that could be described as “whimsical.”

Another great song from a great band! Fans of Dylan and Bruce Springsteen looking for something new and fresh should dig deeper.

Enjoy… until next week.

Song of the Week – Late November, Sandy Denny

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British artist Sandy Denny was among the best singer/songwriters of the late 60s/early 70s. If you’re not familiar with her work you should check it out.

Denny started her recording in 1967 with The Strawbs. Shortly thereafter, she left to join the English folk group Fairport Convention that also counted Richard Thompson as a member.

She was with Fairport on the last two of their first three, seminal albums. She also had a key role on the fourth, Liege & Lief, although she had left the band to form a new group, Fotheringay, before its release.

Liege & Lief was recorded in the aftermath of a road accident that killed the band’s drummer, Martin Lamble, and Jeannie Franklyn, Thompson’s girlfriend at the time. Other members of the band were injured but Denny escaped because she was in a different car with her boyfriend.

This all leads to today’s SotW, “Late November,” from Denny’s first solo album The North Star Grassman and the Ravens (1971).

It has been said that “Late November” was inspired by a dream of Denny’s that portended the fateful auto accident. Rob Young, of The Guardian, wrote:

She turned all these premonitions and real and imaginary cataclysms into song. “Late November”… encompasses all that’s great about Denny’s music: heaving with a slow, pitching swell, carrying a cargo of weird omens and morbid visions. So many of her songs from this period are set at sea or on wind-battered coasts, reflecting the enduring role the sea has played in British folk song. The folk canon abounds with shanties, press-gang songs, ballads of transportation and farewell, of superstition and of supernatural water beasts.

The song has a gorgeous melody and is sung beautifully by Denny. (As a bonus it contains a Thompson guitar solo!) It is a classic.

Denny is also well known for writing the elegant “Who Knows Where the Time Goes” that was covered adroitly by Judy Collins. Some of you may remember her duet with Robert Plant on Led Zeppelin IV’s “The Battle of Evermore.”

In the spring of 1978, Denny died of complications from bonking her head after falling down a staircase, in combination with drug and alcohol abuse. She was only 31 years old.

Enjoy… until next week.