Recently I was listening to “Are You Experienced” by Jimi Hendrix and observed that the droning note in the song is utterly mesmerizing.
A drone is when a single note or chord is sounded continuously throughout a piece of music. It is popular in Indian music and with Scottish bagpipes.
After hearing “Are You Experienced” I began to think about other Rock music songs that employ the technique. There are many songs with Indian Raga influences that came to mind, like “See My Friends” by the Kinks, and a few tracks by the Beatles and the Byrds. But I was fixated on songs with more prominent, single note drones.
One that came to mind was “Heroin” by the Velvet Underground. Listen to how John Cale uses his viola, varying his attack to enhance the song’s emotion.
VU’s “Venus in Furs”, from the same album, also fits the bill.
Another is the Johnny Cash version of Nine Inch Nails’ “Hurt.” The piano drone in the choruses provides the tension that drives the song.
Atlanta Rhythm Section (also known as ARS) was formed in 1971. The band was formed by combining members of The Candymen (sometimes backing group for Roy Orbison) and Classics IV (whose hits included “Spooky”, “Stormy”, “Traces”). They served as the session band for Studio One in Doraville, GA. They had substantial success in the ‘70s when their brand of Southern Rock was in vogue.
The band’s first five albums – ending with Red Tape (1976) – were not very successful, except with a loyal group of fans that followed the band in concert. Then 1976’s A Rock and Roll Alternative changed everything. It included the Top 10 hit “So in to You” and was given five stars in the first edition of the Rolling Stone Record Guide (1979). Champagne Jam (1978) followed and offered another Top 10 with “Imaginary Lover.”
ARS toured extensively and was a very successful live act. They released an album to document their live prowess called Are You Ready! (1979). It included a 15 minute version of the concert favorite “Another Man’s Woman”, the third time they released the song on an album. The first was on their debut release – a five minute track on the eponymous Atlanta Rhythm Section (1973). To me, the definitive recording is the closing cut on Red Tape (1976). Coming in at about 10 minutes, it is tighter and has more energy than the live take, but still leaves room to show off the band’s soloing skills. It is ARS’s “Free Bird.”
Carl Wilson, the rock writer, does a great job here explaining Peter Jackson’s epic (when it comes to the Beatles in January 1969, not civilization) TV show about the Beatles, called Get Back. I finished it last night and it is delightful, insightful, and well worth watching. Read his story here.
In 1965 Eddie Grant (yes, the Grant of 1983’s “Electric Avenue”) was a founding member of one of England’s first integrated bands, The Equals. The others in the group were John Hall, Pat Lloyd, and brothers Derv and Lincoln Gordon.
Beginning in 1968 they enjoyed some international success with a series of hit singles, including “I Get So Excited”, “Viva Bobby Joe”, “Black Skin Blue Eyed Boys”, and their biggest hit “Baby Come Back.”
The ska-influenced “Baby Come Back” was originally the B-side to “Hold Me Closer” but proved to be much more popular. It’s easy to see why. “Baby Come Back” is simple, but irresistibly catchy. It rose to #1 in the UK though it barely crashed the Top 40 in Billboard in the US. Dig the opening, fat string guitar riff, and the way they build tension by repeating the final word of each verse as they ascend into the chorus. And listen carefully for the addition of a syncopated beatbox at the end.
Bonnie Raitt, no slouch when it comes to picking cool songs to record, covered “Baby Come Back” on the underappreciated Green Light (1982), which may be her most rock and roll album.
Grant penned another song for the Equals that was brought to widespread popularity in the form of a cover version. The Clash released “Police on My Back” on Sandinista! (1980).
In 1985, the Philadelphia based band The Hooters, released the album Nervous Nights that contained three Top 40 hits – “Day by Day” (#18), “Where Do the Children Go?” (#38), and “And We Danced” (#21).
The song title — “And We Danced”— is perfect for this ‘80s dance club, power-pop nugget. The Melodica (a hooter) and mandolin intro draw you in, then the song explodes with enough energy to “shake the paint off the walls.”
The Hooters were formed by Rob Hyman and Eric Bazilian who had met over a decade earlier when they were both students at the University of Pennsylvania. Hyman co-wrote “Time After Time” with Cyndi Lauper, which was a #1 hit for her in 1984 from the She’s So Unusual album. (Hyman and Bazilian also provided most of the musical accompaniment on that album.)
Earlier, Hyman and Bazilian were recording albums together in a late ‘70s band called Baby Grand. Their sound is of its time. It sure ain’t punk rock, but it is music that is arranged and played well, and displays its own songcraft. Worth a listen in the same way that you might enjoy Journey, Foreigner, or Toto.
“Never Enough” was revived by producer Rick Chertoff as a hit for Scandal singer Patty Smyth in 1987, albeit with rewritten lyrics.
Carole King had two phases of mega-success. The first was as a Brill Building songwriter with her partner and then-husband, Gerry Goffin. The hits they penned as teens in the early ‘60s include “Up on the Roof”, “One Fine Day”, “Will You Still Love Me Tomorrow”, and “(You Make Me Feel Like) A Natural Woman”, among others.
The second phase was as a singer-songwriter and performer. The pinnacle of her fame during this period was the now 50-year-old album Tapestry. It’s a classic that is in just about everyone’s record collection (if you have a record collection!).
But there was a period in between when King was doing other things. In 1968 she was in a band called The City. That band, which included old friend and colleague Danny “Kootch” Kortchmar (guitar), future husband Charles Larkey (bass), and Domino (as in Layla) Jim Gordon (drums). They released one Lou Adler produced album – Now That Everything’s Been Said (1968). One song on the record was called “That Old Sweet Roll” and was later made a hit by Blood, Sweat & Tears as renamed “Hi-De-Ho.”
By 1970, Kootch and Larkey had moved on to their next project, Jo Mama. Their sophomore effort, J Is for Jump (1971), was a fine collection of blue-eyed-soul. Though King didn’t play on the album, she let them release a version of “Smackwater Jack” that would also appear on Tapestry.
In 1970 King went to work for King, as in B.B. King. Really! B.B.’s album Indianola Mississippi Seeds was produced by Bill Szymczyk in a successful bid for crossover success from the blues market into Rock. Carole played piano and electric piano on “Ain’t Gonna Worry My Life Anymore.” The interplay between the two Kings sparkles.
So as you can see, King remained quite busy and prolific during her “middle” period.
In 2008, the Norton Records reissue label released “Rock ‘Til the End of Time” by Little Johnny and The Silvertones.
The Norton website description of the song says:
Blood curdling unissued 1963 R&B booze savagery!… This recently unearthed Ohio acetate is over the top WILD!!! Dig these lyrics, dad – I wanna cash my check at the liquor store/Crawl into that barroom door/Goin’ to the bar get me a jug of wine…Savage guitars, pounding drums, this is IT!!!!
One of the contemporary bands I’ve been grooving to lately is the British band Black Country, New Road. The seven-piece band (4 men and 3 women) has a sound that fits somewhere between ‘70s progressive rock, Gang of Four styled post-punk, and Arcade Fire-like anthems. (You can throw in some jazz influences too.) But what would you expect from a band that features the traditional two guitars, bass, and drums – but then mixes in keys, violin, and sax?
Their debut album – For the First Time – was released last February and contains the entertaining “Athen’s, France” and “Science Fair.” A couple of weeks ago they released their newest single, “Chaos Space Marine.”
Chaos Space Marines are characters in the popular wargame Warhammer 40,000. Not being a gamer myself, there’s not more for me to share on the subject. (I just like the music!) But I can only imagine that some of the lyrics directly tie into the game:
So I’m leaving this body And I’m never coming home again, yeah I’ll bury the hatchet Between the window, and the kingdom of men Oh, I’m becoming a worm now And, I’m looking for a place to live, yeah Here I come now
The single is an advance on the band’s sophomore effort, Ants from up There, which is scheduled for release in February 2022. It should be good!
FIrst off, I didn’t know his birth name, which makes the moniker all the stronger.
Drummer in the Bush Tetras, he was an artist who explored across genres. So while it’s never too late to listen to Too Many Creeps, this is from Radio I-Ching.
Today’s SotW was written by guest contributor, Michael Paquette. Michael has become a regular!
Doug Sahm began his career as a country singer as a young boy, performing at age eleven with Hank Williams Sr. in one of his last appearances. He crafted his musical skills and style in the barrios, dance halls, juke joints, and parking lots across the Lone Star State. He formed his first band, the Knights, in high school when he realized he’d rather play music than football. He assembled the Sir Douglas Quintet with his childhood friend Augie Meyers and original band members Jack Barber, Frank Morin, and Johnny Perez, in 1964. Their musical style was heavily influenced by the sound of bluesmen Jimmy Reed, Bobby “Blue” Bland, and Lightnin Hopkins. Sahm had listened to these artists and their ilk laying down their blues styles in Fort Worth and San Antonio as had many others who would go on to perform authentic Texan music and refused to compromise their style to become top 40 artists. The music scene at that time included Boz Scaggs, Johnny Winter, Freddie King, and Janis Joplin. This was an emerging blues and TexMex sound that was also influenced by the Texas swing of Bob Wills, the guitar blues of T-Bone Walker, and the Mexican-American rockers like Don Santiago Jiménez of San Antonio which was Doug Sahm’s hometown.
Much of the music of the Sir Douglas Quintet was a bit too far out to be classified as Pop. The band had a couple of hits with their first single “She’s About a Mover”, and the classic “Mendocino” from the album of the same name which they recorded after moving to San Francisco in the mid-‘60s. The song I have chosen from their pantheon of great blues and white soul material is “At the Crossroads.”
This song was from the album as Mendocino (#27 in 1969) and peaked on the charts at #104. It contains the great line, “You can teach me lots of lessons; you can bring me a lot of gold; but you just can’t live in Texas if you don’t have a lot of soul.”
I lived in Texas for many years and ran across some people from all walks of life who loved Doug Sahm. He was a beloved artist whose band performed in venues and rooms for a mix of Black, Latino, and White audiences where the only color in the room was the music. I had the pleasure of enjoying musical acts in clubs, bars, Christmas craft shows, dance halls, concert halls, and arenas. I heard several artists whose music was clearly influenced by SDQ including Marcia Ball, Carolyn Wonderland, Alejandro Escovedo, the Fabulous Thunderbirds, and even the longtime county act Alvin Crow and the Pleasant Valley Boys. With its rolling Chicano rhythms and pumping Farfisa organ SDQ influenced numerous new wave acts including Elvis Costello who patterned both his band and his vocals after the SDQ.
Doug Sahm and Augie Meyers formed the conjunto band Texas Tornadoes in 1989 with Flaco Jiménez, and Freddy Fender, a band that continues to tour today. Sadly, Doug Sahm died of a heart attack in 1999 in his sleep in Taos, New Mexico. He was 58. But his fusion of Texas C & W, Western Swing, Texas Blues, South Texas German polkas, and Tex Mex music lives on in artists who remain devoted to his sound.
