"Should I Stay or Should I Go", The Clash, Combat Rock.
I'm falling into a big Clash phase. I'm excited and welcoming it with open arms. Obviously, this is a classic and known by all. It has no relevance to my Clash phase, but I'm simply enthralled by a few aspects. A) I fucking love Mick Jones, and his voice. It's awkward, it's rough, and it's far from perfect, but it just works so well. It's classically English, and a little dopey, and I really love it. B) The Spanish backing vocals!!! Such fun. The Clash's recordings just make me think they were the funnest bunch to be around. I've never had any attitude of desire towards that late Seventies punk movement, but the Clash make me want to have been a part of it! I'm sure Joe Strummer's shitty Ecuadorian Spanish has a bit to do with that. That, in addition to the overall cat-call feel of the vocals by all (i.e. "Split!") rouse me with great joy.
"Goodbye Blue Sky", Pink Floyd, The Wall.
Another song I'm more than familiar with, but its haunting melody is just that -- haunting, lingering. It's a song I can't skip when it comes on, and I may even have to play it more than once. With David Gilmour's ever-tranquil vocals, matched with his delicate and masterful guitar work, yet contrasted by the sinister theme and tone of the overall song -- it's a prime example of Pink Floyd serving up sheer brilliance in an uncharacteristically short amount of time. In less than three minutes, I am transcended and its all because of the intricately layered vocals, soothing guitars, and moody synthesizers. Pink Floyd hasn't been too active in my realm lately, but I feel a resurgence coming on.
"Goodbye Pork Pie Hat", Jeff Beck, Wired.
Oh, Jeff Beck. I loved you in the Yardbirds, and I gobble up those brilliant three minute pop songs. I hate three minute pop songs, but oh, you guys did them to perfection. But what is truly a testament to Jeff's title of "guitar genius/god/absolutely brilliant and underrated" are his biggest solo successes, Blow by Blow and Wired. I prefer Blow by Blow to Wired, but I'm currently absolutely captivated by Jeff's take on Mingus' jazz classic. I listened to both records last night, in utter darkness as I attempted to drift into slumber. With nothing but his otherworldly sounds to focus on, the albums took on an entirely new significance. More than ever before, his sheer talent was blindingly obvious. Within the five-plus minutes, he conjures up raunchy noises, beautiful melodies, and hypnotic riffs. He does things with his guitar that no one else comes close to, and it literally is trance-worthy. There is such warmth and precision in his playing, but its also laced with spontaneity. I don't know a thing about guitar technicalities, but what I do know is emotion. Jeff Beck certainly stirs them within me, and he doesn't even say a fucking word.
"Sleeping", The Band, Stage Fright.
Unlike Jeff Beck, Richard Manuel absolutely took advantage of his voice to do that soul stirring, and he was an utter pro. Emulating the great masters of crooning that the Band loved so much, Richard himself could have taught course on eternally soulful and heartfelt performances. While this song wax poetic about sleeping in, "to be called by noon is to be called too soon", Richard masterfully uses his whopping voice to calmly serenade. The Band is rollicking behind him, which Robbie taking a typically simple, choppy, shredding solo. This is all enjoyable, but its Richard's sly hopping between the bold chorus and the elegant and fragile verses that make the track a gem worth remembering.
"Mother's Little Helper", The Rolling Stones, Aftermath.
This song never caught my attention, until I went through a phase where I played the astounding Hot Rocks compilation over and over. I spun my little cassette countless times, and this was the track I looked forward to. What makes it unforgettable is the Eastern-style riff, reminiscent of a sitar. This is doubtless the influence of Brian Jones, but what is Mick/Keith are the jovial harmonies on the bridge. I've always been mesmerized by the sounds of their voices tangled up in each other. I found an old journal of mine, when I first got into the Stones, and even then I noted how I loved the sound of their vocals melting together. The subject matter is humorous, but I always think it's funny that a lippy twenty-something was doing social commentary.
"Picture Book", The Kinks, The Kinks Are the Village Green Preservation Society.
I love the Kinks. Let's get that out there. I've got such crazy respect for them. Dave Davies was a maniac guitar player and Ray Davies remains one of the most treasured songsters of our time. Amid the Sixties mania, the Kinks never lost their touch. The Stones were scrambling to rival Sgt. Pepper and were half-assing stuff like Their Satanic Majesties Request. The Kinks never fell into that psychedelia bullshit, they stayed true to doing whatever they pleased. It wasn't long before they progressed from power chord pioneers (a la the aforementioned "You Really Got Me" and also "All Day and All of the Night") to uniquely English flavors, like Face to Face, but this was all still akin to their peers. They soon transcended into their golden age, and despite being a blatantly genius group, they went partly unnoticed. The Kinks were innovative and enduring but, as I said, people seemed more interested in the forced production of the Stones' psychedelia than the real deal sounds of the Kinks -- whom incorporated lavish production, catchy choruses, baroque elements, and the traditional music hall sounds the Stones strived for. They cranked it up, and blew their peers out of the water. "Picture Book" is just a simple example of their unrivaled, crafty, and eccentric talents. Listen to it, and you'll be sure to be dancing and humming all day. I love the way he says 'papa' and 'mama'.
"Going to California", Led Zeppelin, Led Zeppelin IV.
When songs like this come on the radio, there's something romantic about it for me. Of all the songs that could be played, to play one of my favorites, and for me to catch it -- It puts me in a celestial state. I caught this song the other day, and I just wanted to hole up with it on repeat forever. But, truth to be told, "Going to California" has that effect on me always. I like ballads, I guess. A good ballad can get me in a nice and vulnerable state.Throw in an acoustic guitar (dropped to Joni Mitchell-esque tunings) and a mandolin, and you've got the recipe to my girlish gawking, when I am quietly captivated by their endearing genius.
"So Many Roads, So Many Trains", Otis Rush.
This song is explosive, and just really sexy. Sometimes I think, "If I made a list of the sexiest songs, what would be on it?" Quite possibly this. (And "Rumble" and "In My Time of Dying", but this list doesn't even exist... yet!) Otis Rush is a badass. He's got that gutsy voice matched with those wrenching guitars. With the horns humming, as he croons and wails, this song is utter perfection. The guitar burns, and he leaves you wanting more..
"You Turn Me On, I'm a Radio", Joni Mitchell, For the Roses.
For the Roses isn't my favorite record of Joni's, probably because its impossible to rival the greatness of the albums its sandwiched between (Blue and Court and Spark). But Joni's sarcastic reply to her record company's request for a single is easy listening that stands up well in its place. The way she says, "I'm a wiiiiiiildwood flower waving for you", the range she showcases throughout, and her use of words ("I know you don't like weak woman, you get bored so quick. And you don't like strong women, 'cause they're hip to your tricks") just make me love her so much more. Joni's apparently got a bad attitude, and her lists of conquests is enviable, but I love her, despite all of this. When I first discovered her, her words had such significance to me. Each word she sang rang true, and I looked at her albums as reflection and guidance. She provokes dramatic imagery, she's cynical, but she never fails to bring it all across in an eloquent and graceful manner. Her use of language is striking, and she is defenselessly honest.
"She's a Rainbow", The Rolling Stones, Their Satanic Majesties Request.
So yeah, I totally dissed Their Satanic Majesties Request just a few songs ago, but its still the Stones! It's still Mick, Keith, Bill, Brian, and Charlie! And HELLO, it's also Nicky Hopkins and John Paul Jones arranged strings, so let's not get carried away. Did the Stones ever get more whimsical? No, and I'm glad, but they did it really well. This song is funky and magical, in an entirely non-Sgt. Pepper way. So while they failed their initial goal, they created their own little mystical masterpiece. With rich lyrics, vibrant and ethereal piano by Nicky Hopkins (he was an unsung genius, leaving his marks on the best of the best!), lavish mellotron courtesy of Brian Jones, and lush string arrangements by JPJ -- what's not to like?! I mean, its really cutesy, and I'm sure getting a dude to cop to loving "She's a Rainbow" would be a task, but I just kind of want to prance around in a flowy white dress. Again, what's not to like?
"Keep On Growing", Derek and the Dominos, Layla and Other Assorted Love Songs.
I know it's a little taboo, but Eric Clapton, sometimes you bore me. I don't listen to anything post- Layla, but this album is magnificent, and so is a lot of stuff you did before. So... hooray, it's not all a build-up. A lot of the sheer energy of Layla is due to the awing Duane Allman, but he isn't on this track, so I'm handing it to Eric! Of course, the writing credit is split with Bobby Whitlock, who I like a lot. I don't have any particular reason to like him a lot, but I feel a lot of those Layla vibes are pure Bobby, but who knows? Maybe that's a manifestation of my imagination. All I know is that he occasionally belts out a random "Ooooh!" with are-you-really-white? intensity. I can give him that much. What I also know is that "Keep on Growing" is my JAM. This was the first non-obvious (i.e. "Layla", "Bell Bottom Blues") song I fell for, and it still stands up. The Dominos were just a great band. They played better than any other group Eric's had, Eric's voice melted magnificently with Bobby's, and nearly every track had DUANE ALLMAN on it. It was a recipe for success, and I'll never quit bitching about how they were so dumb for quitting. Of all the mistakes Eric Clapton has made... To name a few: Getting that awful perm, becoming a heroin addict, switching it up to become an alcoholic, marrying Pattie Boyd, screwing Carla Bruni, bringing her around Mick Jagger, screwing Sheryl Crow... ditching the Dominos was one of the worst. I probably insulted EC as many times as I complimented him. Oh well, "Keep on Growing" fills me with such glee, I don't care!
I love music. I love writing about music. Most of these dudes are English. London. Four days. Get pumped.
