Tag Archives: song of the week

Song of the Week – Down in the Tube Station at Midnight, The Jam

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Back in late 1977, The Jam finished their second album, This Is the Modern World, and quickly left the UK for their first US tour. It was going to be a quick but important tour, covering six shows over nine days. It started with a west coast swing at the Whisky A Go Go in LA and San Francisco, then went east to Boston (The Rat) and NY (CBGB’s).

The tour was widely considered a disaster. Bandleader Paul Weller was homesick for London so his heart wasn’t into it. (Plus, the 19 year old was pissed that he wasn’t able to drink in the bars he was playing like he could in England where the drinking age was younger.) Equipment problems in SF caused them to cancel a show that was intended to be a major showcase for music industry bigwigs.

I was lucky enough to see the Boston show on October 13, 1977, as a guest of Polydor Records. (I was a DJ at WZBC at the time.) I remember meeting a guy who introduced himself to me as “Mark Parenteau of WCOZ.” I innocently asked him if he was “on air.” He replied “I do the fucking afternoon drive.” I didn’t mean to insult him but how would I know? I didn’t listen to commercial radio at the time. Mark went on to a long and illustrious career at COZ and WBCN but died at 66 years old in mid-2016.

But let’s get back to The Jam.

This Is the Modern World is a decent album but was considered a typical sophomore slump for the band upon release. The awful US tour and disappointing reception for This Is the Modern World was incentive for Weller to dig deeper and come up with better material. He answered the call and returned to form on their third release – All Mod Cons (1978). It is often considered the best album in the Jam’s strong catalog. Chris Woodstra of All Music wrote “Terms like ‘classic’ are often bandied about but in the case of All Mod Cons, it is certainly deserved.” MOJO wrote it “… still stands as The Jam’s finest hour.”

Its best song was “Down in the Tube Station at Midnight.”

The song tells the story of a guy who gets into an altercation with a gang in the London subway. They beat the crap out of him, leave him semi-conscious and take his money and the keys to his house. As he lies there he begins to worry about the safety of his wife, waiting for him at home.

The last thing that I saw as I lay there on the floor
Was “Jesus saves” painted by an atheist nutter
And a British rail poster read “have an away day, a cheap holiday, do it today”
I glanced back on my life, and thought about my wife
‘Cause they took the keys, and she’ll think it’s me
I’m down in the tube station at midnight

Tough stuff!

Enjoy… until next week.

Song of the Week Revisited – Rocket Man, Pearls Before Swine & The Man in the Moon, Grinderman

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I recently learned that Tom Rapp, a psych-folk innovator and the creative force behind Pearls Before Swine, has died after a long bout with cancer. This news has prompted me to pay him tribute by revisiting a SotW posting I originally distributed on April 4, 2009. You can read his full obituary here:

https://www.nytimes.com/2018/02/14/obituaries/tom-rapp-the-voice-of-pearls-before-swine-is-dead-at-70.html

Back in the late 60s/early 70s, Tom Rapp recorded several fine “psychedelic folk” albums with his band Pearls Before Swine. His finest was The Use of Ashes (1970). This album was recorded in Nashville with some of the same session men (Charlie McCoy & Kenny Buttrey) used by Bob Dylan on Nashville Skyline and John Wesley Harding.

That album’s “Rocket Man” (not to be confused with the Elton John/Bernie Taupin song used in a recent episode of My Name Is Earl) is my favorite and this week’s song. The lyrics were inspired by Ray Bradbury’s “The Illustrated Man” and tell the story of a son’s astronaut father that dies in space:

My father was a rocket man
He often went to Jupiter or Mercury, to Venus or to Mars
My mother and I would watch the sky
And wonder if a falling star
Was a ship becoming ashes with a rocket man inside

I was first turned onto Rapp and Pearls by my brother and his college buddies (they were big in Boston). A couple of years ago my buddy Joe M. (the drummer in San Diego’s Pink Floyd tribute band) revived my interest in these records when he let me borrow a boxed set he picked up. It wasn’t until this more current listening that I picked up on Rapp’s Carol Channingesque lisp. How did I miss it all the times I listened to this song/album in the 70s?

If you get a chance, listen to “The Jeweler” from the same album. It’s truly a gem. (Sorry!)

I was recently reading a MOJO article on Nick Cave and learned that his Grinderman song “The Man in the Moon” has a very similar feel and lyrical content, so I have to include that as a second song of the week.

My daddy was an astronaut
That’s what I was often taught
My daddy went away too soon
Now he’s living on the moon

Hang on to me people, we’re going down
Down among the fishes in an absence of sound
It’s the presence of distance and it’s floating in time
It’s lack and it’s longing and it’s not very kind

Sitting here scratching in this rented room
Scratching and a tapping to the man in the moon
About all the things that I’ve been taught
My daddy was an astronaut

They’re perfect bookends.

Enjoy… until next week.

Song of the Week – Moonlight Mile, Rolling Stones & Blue, Jayhawks

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A “rock death” escaped me at the end of 2017. On November 7th, Paul Buckmaster passed away at the age of 71. As yet, the cause of death has still not been disclosed.

I first became aware of Buckmaster’s work through the liner notes for Elton John’s string of six outstanding albums from Elton John (1970) through Goodbye Yellow Brick Road (1973). Throughout his career, Buckmaster arranged 52 songs for John.

But he did so much more than that. He arranged the strings on David Bowie’s first breakthrough hit, “Space Oddity.” He worked on other mega hits in the early 70s including Carly Simon’s “You’re So Vain” and Nilsson’s “Without You.” He sweetened the Grateful Dead’s “Terrapin Station” and played cello for Miles Davis. (Davis credited Buckmaster with introducing him to the work of 20th century, avant garde composer Karlheinz Stockhausen.

He also made his mark on the last minute of “Sway” from the Rolling Stones’ Sticky Fingers. But his work on that album’s “Moonlight Mile” is more noteworthy.

Mick Jagger worked with Mick Taylor on this song as Keith Richards was MIA. It was Taylor’s idea to ask Buckmaster to gin up a string arrangement for the song. Taylor expected (some would say promised) a song credit for his contributions. But upon release the credit went to the Jagger/Richards team.

Buckmaster continued to work with pop and country artist and in the mid ‘90s he contributed to “Blue” by the Jayhawks.

The songs most prominent feature is its soaring harmonies. But Buckmaster adds a subtle string arrangement that perfectly complements the emotion of the song.

Before his passing, Buckmaster worked with everyone from Counting Crows to Train, Heart to Guns N’ Roses, Carrie Underwood to Taylor Swift, Something Corporate to New Found Glory (and plenty more). His legacy will live for generations!

Enjoy… until next 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.

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.