Monday, December 20, 2010

The Kinks: Muswell Hillbillies Revisited

Most people remember The Kinks as one of the original British invasion bands with their early hits, You Really Got Me, All Day And All Of The Night, Tired Of Waiting, and many more.

What most people do not remember is that The Kinks were banned from American stages from 1965-1969. Apparently appalled by the Kinks onstage behavior (Ray and Dave, the brothers Davies, thought nothing of letting sibling rivalry spill right out in front of all those screaming teenage girls, often going as far as actually coming to fisticuffs!), the American
Federation Of Musicians denied permits for live appearances to the group for 4 years, lifting the ban only when Ray Davies himself went to L.A. in 1969 and made the case for lifting the ban. The resulting tour in 1969 was apparently horrible as the effects of 4 years of not touring left a trail of disinterested audiences and questionable performances.

The ban also aided in creating what many Kinks fans might call the "golden era of the Kinks". Free from any American influence, the Kinks created a uniquely English oeuvre during this period with albums such as Face to Face, Something Else, and the album many consider the Kinks greatest, The Village Green Preservation Society.

A few more albums, Arthur-Or The Decline And Fall Of The British Empire, Lola versus Powerman and the Money-Go-Round, Part One, a dispute with their long-time record company, Warners/Reprise over the stateside release of Percy, a Kinks soundtrack to a film about a penis transplant, and the group found themselves newly signed to RCA Records. RCA, meanwhile, is wringing their hands with anticipation of more hits like "Lola", which had been an international smash!

The Davies brothers used the advance monies from their RCA contract to build Konk Studios, a facility that was still in operation until July 2010 when Ray put it up for sale. Konk came later, so it was Morgan Studios in Willesden, North London that the Kinks entered in August of 1971 to record their first album for RCA and the followup to Lola vs. Powerman.

RCA anticipated more hits in the form of singles, but Ray was determined to move past the concept of "singles" and wanted to focus on making an a more cohesive piece of work in the form of an album consistent in theme and musical presentation. Furthermore, while RCA may have expected an album of transatlantic rock, what the Kinks were about to deliver would be very different. Ray describes the process leading up to the recording as somewhat soul searching as he made the decision to make an "existential" record, a move he later called "the classic thing of not delivering what people think you're going to deliver."

On November 24, 1971, the album, Muswell Hillbillies, was released in the U.S. Transatlantic rock it definitely was not. Instead, the lyrics reflected growing up working class in the Muswell Hill suburb of North London, the destruction of the Old Victorian neighborhoods and displacement of families, and the general stress and insanity of technology and life in the 20th century. The reality of the lyrics was reflected even in the album art. The cover shot was taken at Archway Pub, a pub that several members of the Davies family visited every Thursday night. The gateway cover picture of the Kinks was taken against a corrugated fence built to hide a bombed out London neighborhood just like the one the Davies family had been moved out of. Many of the characters that populated the songs were actual people the family knew. Uncle Son, Rosie Rook, and Ray's grandmother from "Have A Cuppa Tea".

Of course, many of the Kinks songs reflected their working class ethos, especially considering that Waterloo Station from the song "Waterloo Sunset" is only four Underground stops away from East Finchley, where Muswell Hill was located.

As for the sound of Muswell Hillbillies, well, that was straight out of America, a winning combination of roots blues and even a little country topped off by one of the most American sounds, dixieland jazz, from the horn section that would come to be know as The Mike Cotton Sound. The cumulative effect was that of an English Cabaret transported somehow to the middle of Appalachia.

Wanting the album to sound antiquated, Davies recorded much of it on dated equipment, using 10 year old microphones at times. As a result, there is a denseness to the album that makes it sound like a bad recording at times with acoustic guitars and vocals. The vocals are buried just a bit at times, to great effect.

Davies makes his declaration of faith in the opening song 20th Century Man, which continues to this day to be a staple of his live shows.
"This is the age of insanity, a mechanical nightmare.... the wonderful of technology.. napalm, hydrogen bombs. biological warfare"
Over a blues based riffs accentuated by the occasional slide guitar, Ray professes his disdain for all things modern, his desire to be elsewhere other than the 20th century. In mid song a Byrds-like electric guitar breaks in as Davies recounts his feelings of being "controlled by civil servants and people dressed in gray" upon his family's uprooting and relocation to Muswell Hill.

The family's Victorian home was in a bombed out section of London thus the relocation, but Ray never understood why some homes were rebuilt, while in other cases, entire neighborhoods were leveled and moved to urban projects. To Davies, and to The Kinks, for that matter, such inequities were attributed to class differences. If you don't think The Kinks were one of the precursors to the Punk movement, give a close listen to Dead End Street.

Next is Acute Schizophrenia Paranoia Blues, one of the funniest of all Kinks songs as the singer takes us through his process of total mental breakdown, crying out not only about the world around from the previous song, but also adding in the paranoia of a breakdown as the milkman becomes a spy and "the grocer keeps on following me", all to the happy beat of the dixieland jazz horns and John Gosling's music hall style piano. Another song that became a fixture in the live shows of the era, as demonstrated below.

Here the album takes a definite storyline feel, as the character of
Acute Schizophrenia Paranoia Blues is now sent on a Holiday as seen in the opening video here. It is a typical English working class holiday "lying on the beach, my back burned rare,the salt gets in my blisters, the sand in my hair, the sea's an open sewer, but I really couldn't care" as the protagonist makes the best of a less than ideal situation.

Next it's on to the obsession with being thin that continues to this day with Skin and Bone, a song that Ray always introduced as "a story about a girl named Fat Flabby Annie". We follow Annie down the path to a fake dietitian's diet which reduces her to a waif as she succumbs to yoga and meditation and throws away the "good food' guide, meaning pizza, mashed potatoes, and alcohol amongst others. It's sort of a demented Richard Simmons workout song!

Alcohol would become a staple of the Kinks live shows for many years. The tune was ripe for loose interpretation. For example, in live performance, the lines,
"Here is a story about a sinner, He used to be a winner who enjoyed a life of prominence and position," became "Here's a sad and woeful story about a middle class executive, who enjoyed a life of prominence and position" with the last word drawn out nasally over a trumpet that sounds like it belongs in the bull ring. As the ever inebriated looking John Gosling sat behind a piano littered with beer cans, Ray warbled this tale of downfall and woe while balancing a beer can on his head. Interesting to note that when I last saw Ray back in 2008, he wasn't doing this song, but he was still balancing beer bottles on top of his head.

Primitive as this video from 1975 is, it clearly shows the mileage that Davies drug from this hilarious tune.

In Complicated Life, the singer's obsessions begin to physically drag him down and he strives to "uncomplicate my life" and the while acknowledging that he has to "stand and face it, life is soooo complicated" as side 1 of the album concludes. The music is a return to the blues foundation that started the side with 20th Century Man.

Side 2 begins with Here Come The People In Grey, meaning the faceless gray suited army of bean counters first mentioned in the opening song
. The song recounts the story of a working class family uprooted by the borough surveyor who uses "compulsory purchase to acquire my domain", leaving the family unprepared and apprehensive as they are moved forcefully and completely from their familial home. This song sounds very much like a remembrance of the Davies family experience that resulted in Ray and Dave growing up in the urban renewal project of Muswell Hill. Musically, this song is closer to previous Kinks styling than the rest of the album, driven by Dave's slightly fuzz tone guitar.

Nostalgic to the core. Have A Cuppa Tea is another one of the Kinks more endearing songs, as should be any song that begins with the lines "Granny's always raving ranting, and she's always puffing and panting".
The sound is pure Music Hall from the piano tinkling that drives it to the horn section accentuating the verses with sloppy delight!

Holloway Jail is pretty much a straight out blues based prison song about the singer's lady friend being taken to the London jail sometimes called Holloway Castle, where adult women and youth offenders found themselves after running afoul of British law. It is particularly funny listening to Ray try to rhyme jail and hell (which comes out as hail!).

In Oklahoma USA, the singer recounts that "all life we work but work is a bore, if life's for living, what's living for" while telling the story of a poor girl living in a house that is "near decay" while dreaming of a life that is far away and driven by the glorious vision presented by Hollywood. A gentle and elegant piano phrase begins and forms the musical core of this song, one of Ray's most beautiful compositions. Kinks fans were delighted when Ray resurrected the song sans piano for US tour in 2006 as shown below:

Uncle Son stands as a true memory of Ray's actual Uncle Son, a real person. Uncle Son has led the good life, done the right things, tolerated the dictum of liberals, conservatives, socialists. generals, and preachers yet still managed to live out his life in dignity as "just an ordinary man". Davies asserts that the likes of Uncle Son will not be forgotten "when the revolution comes". Over and over in his career, Ray has returned to the theme of ordinary people quietly leading lives of desperation.

The final song, Muswell Hillbillies, is a bonified Kinks classic with one of the greatest opening lines in history:

"Well, I said goodbye to Rosie Rooke this morning, I'm gonna miss her bloodshot alcoholic eyes"

The song is a countrified rock song that Ray would often use to introduce the band members in concert, ending with the line, "well, I guess you all know me, I'm Johnny Cash." Lyrically, the singer rails against the move to Muswell Hill, recounting that while photographs and souvenirs of the previous life may be all he has left, "they"(the people in Grey) will never change him or make him forget where he really comes from.

Even after these 39 years, listening to this album felt as comfortable as the old wood bar of the Archway Pub on the front cover and as refreshing as that first pint after a hard day's work! If you've never been to Muswell Hill, there's no time like the present. Even if you have, this great album is highly recommended for reconsideration. Listen...again!!

Thursday, December 9, 2010

It was Christmas Eve, babe, in the drunk tank......: Is "Fairytale Of New York" the greatest Christmas song ever?

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair.
Charles Dickens,
A Tale of Two Cities (1859)

Dickens is generally acknowledged to be one our greatest writers, one of the masters of the opening line such as the one above. So explain how it is that a drunken, drug addled and virtually toothless Irish songwriter manages to encapsulate the same thought above that opened A Tale Of Two Cities in just 9 words...........
"it was Christmas Eve, babe, in the drunk tank......"

Much like Gram Parsons, Shane MacGowan came to the planet with a blueprint. And like Gram, no matter how hard he tries to waste his own talent, great and meaningful songs come out of him. Is that God? Mother Nature? The Wiccan Queen of The Universe (if there is such a thing)? Who knows? Who cares?

Some things are just meant to be beheld and Fairytale Of New York is just such a thing. Its' majesty only seems to grow with the passing of the years! The reasons why I love this song for Christmas are very much like why I love the film Bad Santa so much. It is very much for the same reason that Fairytale Of New York moves me to near tears every time I hear it. In the utter hopelessness and despair of its lyrics in light of the singer's current situation, there is hope and joy for resurrection. The protagonist dances to the edge of moral bankruptcy and yet retains his dignity and humanity by acknowledging that love not only lives, but still conquers all.

Many of you folks in the UK and Ireland consider it the best Christmas song ever. That is hard to argue, especially in consideration of the fact that the BBC apparently did an hour long special about Fairytale Of New York. It is totally fascinating and here I have simply done you the service of assembling all 6 parts in order so that you don't have to search for them, beginning with the classic original video from 1987 and ending with a classic performance video with Kirsty MacColl from 1988. It is a story that draws you in if you are a music fan so take your time as each little chapter holds it's delights.

First, here's the original black and white classic video.
Now where is that Bad Santa DVD?

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6
Finally, this classic performance of a classic song from 1988.

RIP Kirsty MacColl.

Wednesday, December 8, 2010

Ray Davies & Chrissy Hynde: Postcard From London

I'm not exactly sure how I missed this great song last year. It was part of the Kinks Choral Collection released in November of 2009 in the States.

The story has it that Natalie, the daughter that Ray and Chrissy had together in the mid-80s, acted as the go-between to get the song to Hynde after Ray's current girlfriend cut the initial female part. No personal contact took place between Davies and Hynde during the recording. Chrissy simply came in one day, cut the vocal and that was it. Davies himself admits to being surprised that no discussion proceeded or followed Hynde cutting the vocal.

The song also visits the familiar landscape of Davies' London, including Hampstead and, of course, Waterloo.

Though references to snow and yuletide abound in the lyrics, Davies insists the tune was not intended as a Christmas song, saying that instead he was "looking
ahead to when I have grandchildren and they ask me: 'London – what is this place?' It was more about the disappearing landscape of old London, again a common theme in all of Ray's work!


Monday, December 6, 2010

Review- Fox News Reporting: The Last Days Of John Lennon

It's my own fault, I want to make that clear. No one forced me to watch the insufferable Bill Hemmer's Friday Dec. 3 Fox News special on John Lennon's final days. I did it to myself, not only that, I had to go back and watch it again so I could write this review and warn you not to waste your time looking for reruns. All in total, that's approximately one hour and 45 minutes of my life that I'll never get back (Thank heaven you can skip the commercials in Tevo mode or it could have been worse!).

First, a confession. I know it's hard to tell, but I'm no Bill Hemmer fan. It's not the frat boy looks, the pompous attitude, or the politics. I just think he's a lousy news person. Having spent 15 of my years on the planet in the newspaper business and another 5 in news driven radio, I was fortunate enough to work with some very good news people.

I don't even consider Hemmer a good talking head. One of the annoying things about his cut-ins
during the show is that he can't seem to decide whether he should smile or not.

Like Anderson Cooper, Hemmer may not be much of a newsman, but he does a great job of playing one on TV.

Here I'm sure that there are multiple people to blame for the general overall lameness of the report, but even for Fox, it is woefully lacking in new content, rife with the air of shoddy or non-existent research in its remembrances of both the Beatles and Lennon's solo career and, long on a few gruesome details. In fact, the general manner in which the first 30 minutes of the show proceed give the distinct impression that Fox discovered too late there weren't enough gory detail exclusives to last an entire hour and they were forced to fill in by telling the story everyone already knows.

Both Hemmer and the show enter more their comfort zone when matters cross over into the more sensational. Hemmer seems to take special delight in saying "Coming up, we'll meet the man who literally held John Lennon's heart in his hand!"

After the break, we return to an attending surgeon that night who describes the damage that the bullets did to John's arteries. In the midst of all this, we meet the 5 NYC police officers who came in closest contact with the event.

Then, on the next break, it's "Coming up, Mark David Chapman is getting a surprising perk in jail that has some people up in arms".

We discover that Chapman is allowed 3 conjugal visits a year from his wife of 31 years and the person "up in arms" is a congressman who wants to ban the "Family Time" law that makes the visits possible.

Actually, the fact that Chapman is still married to the woman he was married to before the murder (remember the Yoko clone theory? Chapman's wife is Japanese) is a detail made only more chilling by the fact that when Chapman went to New York in late 1980, he promised her he wouldn't kill John Lennon.

The other thing that struck me was the pure matter of fact manner in which Chapman describes his actions.

It was also interesting to hear one of the police officers describe Yoko's obviously distraught state and how he asked her about Sean, which calmed her. Other than those observations, I see no reason to share other details about this monstrosity.

This show did nothing to add to the story of John Lennon and nothing shed any more light on the weeks preceding his death. Just rehashed material and painfully so... except for those gruesome details that you don't really want to know!

One of my buddies has as his business mantra "I think of everything so you don't have to." Here I'm going to say "I watched it so you don't have to"....... so don't..... please DON'T!!

Wednesday, December 1, 2010

The Kinks: The Skin And Bone Diet

Busy working on a lengthy article, review, and remembrance of the Kinks album
Muswell Hillbillies. Meanwhile, here's one of the classic songs from that album being performed in 1974 at The Rainbow Theater in London.

Based on the clothes that Ray Davies is wearing, this show was part of one of the Preservation Shows, likely Preservation Act 2

This little ditty about the dangers of dieting and the obsession with being thin is still pretty timely and you can bookmark it and play it whenever you feel guilty this holiday season.

Enjoy and pass the fudge!

Tuesday, November 30, 2010

Gram Parsons Still Dead Part I: If he could only see himself now

For those uninitiated, Gram Parsons is given credit for being the godfather of Country Rock music, although he preferred to call his style Cosmic American Music, a melting pot of rock, R & B, and Country. Ever heard of Uncle Tupelo? Wilco?

Gram was a privileged, wealthy, and very damaged son of the south who formed one of the first Country Rock bands, the International Submarine Band, while at Harvard (no dummy, that boy!), then went on to pretty much hijack the Byrds for one album, Sweetheart Of The Rodeo. Later he formed the Flying Burrito Brothers, discovered Emmylou Harris, sang with her on two absolutely brilliant solo albums, GP and Grievous Angel, and then did what he seems to have became most famous for...he went out to The Joshua Tree Inn in the desert and died! Now, the truth is old Gram may not have even been famous for that if it weren't for the fact his road manager, Phil Kaufman, stole his corpse and took it back out to Joshua Tree and torched it!

First of all.....sorry,
Gram. I promise we'll write more about the music in the future and less about that ugly little episode that happened at the occasion of your demise.

What's that? You say you LIKE this stuff?

I think it was Roger McGuinn who said it
, but it could have been any musician who knew Gram Parsons. "Gram sure would have dug it knowing he was gonna be this hot after he died." Most everyone who knew Gram agrees on the fact that while music was the vehicle and Gram wanted to play, what he really wanted was to be, mission accomplished! OK, well there was that early departure thing... maybe that wasn't the best idea!

Gram would have dug it? No kidding!! Based on what I've read about the man, and that's pretty much everything, he would have loved the entire way he achieved fame.

"If Gram was here today, he'd still be dead..... he was heading in that direction".. Phil Kaufman in Fallen Angel.

Gram would have loved the whole story about the coffin burning, he would have dug that stupid movie, Grand Theft Parsons. He probably would have agreed to make a cameo appearance as his own corpse. Gram, by all accounts, loved telling stories, so I have to think he would have totally bought into Phil Kaufman creating his own myth in that flick. Who cares about the facts? Apparently Gram, who was known by all to tell whoppers pretty regularly, sure didn't.
One if the funniest parts of the entire myth for me rests on the fact that Gram fans have for years placed wreaths and tributes at a certain spot next to Cap Rock, where the "cremation" of Gram Parsons was assumed to have taken place. Kaufman, ever the realist...and some would call him a few other names, featured a map in his book, Road Mangler Deluxe, and asserts that there is no way that he and his partner in the body stealing venture, Michael Martin, could have drug a coffin full of Gram Parsons to that particular spot as they were simply too drunk. Instead, he circles a much less romantic area that is right by the road, allowing the drunken duo to simply drag the coffin out of the hearse, dose the body, and easily get away from the headlights approaching in the dark. Kaufman recounts that the coffin seemed quite heavy in their inebriated state and at one point they actually dropped it and both said "Sorry Gram".Of course, there is the question of how someone too drunk to remember much of anything comes up with so many small details that just happen to be so "screen worthy", but when you are creating your own myth...... 

There's another thing you have to realize before becoming absorbed in the story of Gram Parsons, which is easy enough to do. Tennessee Williams could not have written the story in his wildest dreams. Alcoholism, Drug Abuse, Wealth, Death. All the elements are there for a Southern Gothic Epic. But we go to deeply into it, I should tell you this one thing you have to realize about Gram Parsons.

No romance, no glory, flat out, for the last year or two of his brief life, Gram Parsons turned into a junkie! His death was, as becomes increasingly clear as the years go by, a junkie's death. A mistake. A miscalculation if you will. If Gram was here, he might still be dead, but he'd be saying "never, ever, ever take a second hit!"

Coming up in Part II: We hear some words from Emmylou Harris and Chris Hillman and try figure out exactly who was there and what might have happened the night Gram checked out!

Monday, November 29, 2010

A Forgotten Hall & Oates Classic Revisited

LOVE TRAIN, the O'Jays classic that Daryl Hall, John Oates, and Todd Rundgren are belting out for the grand finale of the final show at the Philadelphia Spectrum on October 23, 2009, might have been the latest song that this trio sang together, but their musical history together extends back another almost 4 decades.

By the end of 1973, I had discovered Hall and Oates, reveling in the combination of blue eyed soul and folk like instrumentation and harmonies that comprised the sound of Abandoned Luncheonette.Todd had been at the fore front of my emerging musical consciousness beginning with the tuneful era of Runt,through the span of Something / Anything,extending into the whimsical tunefulness of A Wizard, A True Star,and past to the electronic experimentation of Todd.

When it came to Todd, I was almost as much into Todd the producer as much as Todd the musician. Total fascination with guys who can hear a sound in there head, twiddle a knob on a board, and there you have it.
Thus it was in late November of 1974 when the third Hall and Oates Album, War Babies,appeared on the new release shelf at my local record shop, Back Alley Disc, thus named as it was actually in a back that I took a short cut through every day as I walked home from class at UVA. The album cover, a montage of images including Ritz crackers, Bomb Shelter signs, an Eisenhower-Nixon campaign button, and a half-eaten BLT sandwich, did little to give away the audio treats hidden inside the package, instead creating an aura of nostalgia akin to the dilapidated and overgrown diner on the cover of Abandoned Luncheonette.Upon turning the cover over, I saw the first indication that perhaps War Babies might be a little different from Luncheonette.
enunciating Rundgren's influence was the admonition to PLAY IT LOUD! Topping it off was one of the Rundgren mantras "Anything worth doing is worth overdoing" attributed to one P. Muse on the back!

What an anticipatory walk home that was! A duo that I had just gotten into primarily because of their stellar vocals and blue eyed soul leanings produced by the man I not only considered one of the premier record producers of the era, but also one to whom pop and blue eyed soul came so easily that he had already left much of it behind before the public even heard it. Match made in heaven? The walk home to my little detached speaker record player was filled with thoughts of a virtual blue eyed soul extravaganza as well the effects from the marijuana that I had packed into top half inch of the Merit Light cigarette I smoked as I walked home.

Upon arrival, I performed the ritual of tearing the plastic from the cover and pulled out the sleeve to reveal a much different looking Daryl Hall and John Oates than the back cover of Luncheonette. Gone were the denim jackets and any semblance of a folky look. A fairly androgynous looking Daryl Hall in a tight, sleeveless t-shirt shook the match that had just lit the cigarette hanging from his mouth and Oates stared shirtless except for a patterned and shiny designer jacket. 

As the needle dropped on song one, Oates' "Can't Stop The Music (He Played It Much Too Long)", a reflection on the rigors of touring, it was the sound that caught me right away! The mandolin and acoustic guitars of the first two H & O albums were totally gone, replaced by electric guitars, keyboards, and the sound of Rundgren's signature and never ending synthesizer washes floating around in the background
! I LOVED it!!

As if to accentuate the point, the song segues gracefully into "Is It A Star" and the wash of Rundgrenesque electronics intensifies as the songwriting begins to take a slightly more experimental turn, all the while thematically and lyrically remaining consistent with the general negativity of the duo's experiences in the music business while set in the strangeness and isolation of a post-60s cityscape.

"Beanie G and The Rose Tattoo" and "You're Much Too Soon" are more conventional in melody for the most part, while "70's Scenario" anticipates and sets the mood of isolation and coldness that will dominate much of side 2, with tons of reverb, more moody synth wash backgrounds and Rundgren's counter to melody and out of time guitar solo. Much was made by some critics of what they described as Todd's regressive playing on this and other records of the era. It's clear to my ear that the guitar injections are intended to jar the listener, not sooth them.

As side 1 ends, it is noted that the cityscape that the album closely resembles is more New York than Philadelphia, understandable in light of the musicians current residence in NYC. With solo writing credit for 3 of 5 songs on side 1 and 4 of 5 on side 2, also noted is the dominance of Hall's songwriting, likely a factor that played into his recent assertion that War Babies was sort of his first solo album (an assertion that Oates strongly disagrees with, by the way).
 Side 2 (remember the sides?) is where War Babies really gets ramped up! The title track is the centerpiece of the LP, beginning with an air raid siren straight out of the 50s air raid shelter days pictured on the cover.The almost military beat of the music kicks in and builds until it's a melody almost reminiscent of Rundgren's "International Feel" from A Wizard, A True Star. The lyrics of "War Babies" are a liturgy of images drawn from the culture of the 50s mixed with the apprehension familiar to any child who grew up in the era when a plane flew overhead in the dark. All the paranoia and fear that was growing up in the post nuclear world is there, accentuated by the band's stellar musicianship.

If "War Babies" is the thematic core of the album, it is the next song, "I'm Watching You (A Mutant Romance)" that represents its spiritual core, empty as that may be. It is prefaced on the lyric sheet by a note:

In the summer of '73 surveillance monitors were
installed in the
Times Square area of New York City

Starting with a solo piano riff backed by the synthesizer whirl that was a signature of Rundgren's sound at the time,the lyrics appear to be a paean of love to a prostitute from the watcher of the monitor screen until the very last verse when the watcher is revealed to be the video camera itself, thus the mutant romance. What better image to illustrate the coldness and isolation of the city and, for that matter, the music business of the mid-70s itself than the image of the machine, devoid of real feelings yet watching all the time?

The fadeout of the song with it's plaintive "and I'm watching you... all night!" still sends a slight chill down my spine. After all this dripping depression, some relief is called for. It appears in the form of the very next track "Better Watch Your Back". A jaunty and happy guitar riff with a hint of Hall's mandolin in it carries the energy immediately from the head to the feet, the butt, or whichever body part gets dancing fever first. Not all old school, the track features a bass line and slide guitar part that places it squarely in the War Babies sound base, nonetheless the shear upbeat melody of it offers relief from the city sounds that proceed it, despite lyrics which decry the danger of outspokenness of thought.

The mood is optimism is immediately broken by Hall's dirge like piano and lyrics to "Screaming Through December", but 3 minutes in the song turns into a virtual Utopia jam. Utopia was Rundgren's fledgling group at the time and War Babies included the full Utopian rhythm section of John Seigler on bass and Willie Wilcox on drums as well as Todd on guitar. The spacey instrumental section goes on for almost 2 minutes before winding back into the melody to close the track on the downbeat it started from.

The grand finale of War Babies is the rocker "Johnny Gore and The C Eaters", inspired by a sign Oates noticed as they were driving through Georgia as a missing H turned Johnny Gore and the Cheaters into Johnny Gore and the C eaters. Hall remembers that Bowie was everywhere during the era this record was made and "Johnny Gore and The C Eaters", on which the band shines (especially Rundgren on guitar), would not have been at all out of place on a Bowie album. As the track fades, the unique happenstance that was War Babies is over and with it, so is Hall and Oates time at Atlantic records.

War Babies
spent an awful lot of time spinning around on my little record player for a good 6 months or so. As far as I was concerned, it was as much a Todd Rundgren album as a Hall and Oates album. As I alluded to previously, I was as much a fan of Todd the Producer as Todd the Artist. War Babies was a true collaboration.

Rundgren touches were everywhere, from electronic segue between the first and the second song to the low volume keyboard doodle which starts "Beanie G and The Rose Tattoo". That was enough to keep it on my turntable for quite a while.

RCA signed Daryl and John and for years they distanced themselves from War Babies, colluding instead with the Atlantic records version of the story that the all powerful Todd Rundgren came aboard and virtually forced the duo to make an noncommercial record. 

Meanwhile, Hall and Oates released their first album for RCA, commonly known as the silver album. The work featured their venerable classic "Sara Smile" as well as the upbeat and declaratory opener "Camellia". Gone were the synth washes and metallic guitar, replaced by soothing keyboards and smooth guitar as Daryl and John took their proper place amongst the Yacht Rock artists the era is known for today.

When I first saw Daryl and John live in 1975, the silver album aka Hall & Oates, was their latest album and "Sara Smile" was the current hit. I don't recall them doing ANY songs from War Babies that night.Here they are performing "Is It A Star" for a German TV show in 1976. Check the duds that everyone is wearing, the palms trees on the set,and the generally softer arrangement of the tune..... ah,Yacht Rock! This video is from a bunch of cool You Tube stuff collected by Eddie Zyne, the drummer of the group here!

War Babies went into the bargain bins until just this last October when Paul Myers excellent book,
A Wizard, A True Star: Todd Rundgren in the Studio,was published. That book was not only the inspiration and reference guide for this article, but the sole impetus behind my finally getting a CD version of War Babies.

A move fraught with irony and hypocrisy actually began the reassessment of War Babies' delights when Atlantic Records, who threw Daryl and John off their label in 1974 because of it, re-released War Babies in 1998 as part of the label's 50th anniversary celebration. 

Apparently, Daryl and John have reassessed it as well. In fact, a brief discussion of the album ensued when Todd made an appearance on Hall's online TV show Live From Daryl's House, last year.The show also includes a mainly acoustic version of "Better Watch Your Back" from War Babies.  

War Babies is from the collectors label,Wounded Bird Records,and is available through Amazon. Highly recommended!!
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Wednesday, November 24, 2010

Happy Thanksgiving from a Kink!

There really are not a lot of Rock N' Roll Thanksgiving tunes, so how fortunate am I that one of my particular artists of obsession, Ray Davies of the Kinks, wrote one of them? Backed by the Max Weinberg 7 and a choral group like the one he's traveling with now, here's Ray singing "Thanksgiving Day" from Late Night with Conan O'Brien back in 2005! Happy Thanksgiving, everyone!

Best Version Ever of a Great Beatles B-Side

Back in, say, 1969-1970, when jukeboxes existed, The Beatles “Let It Be” was the hot single and. thus, often played. On the B-side, however, was this comedy classic, the Beatles best comedy song. If you have heard it, this is the longest most complete version, also cutting in some rare video footage that I had never seen before, dipping into ska, and the Holiday Inn lounge sound for good measure. I spent more quarters on this song than I care to count. ENJOY!!

Welcome To Rick Haggard's Classic Trax Version 2.0

I miss records stores…. I mean I really miss record stores. Let’s be honest. I live what one of my good friend’s described as “the semi-retired lifestyle of a Mobile DJ”. As such, I’ve been known to have time on my hands virtually anytime of day.
For many years, then, I was able to wander the aisles of record stores at will. Having no boss or office to report to, I often spent leisurely hours and hours perusing the racks. In fact, it was often a running joke at my regular store that I knew the layout and stock better than most of the employees. Occasionally, I would be asked to help a shopper find a certain CD… that’s how well I knew the store.

I suppose that I should also clarify that I actually think SOME record, as in 12 inch vinyl. stores will be around a long time, especially on the internet. A more apt description would be that I miss CD stores because for the last 20 years or so, the fun was always in seeing what was new to CD for the first time, what was newly remastered, like all those Beach Boy albums I now own 12 different CD copies of, and what was actually new…. as in newly released music!

Sadly, those days are gone. Recently I attended a show where the artist announced that the upcoming CD would be his last. As no one actually buys the CDs, his reasoning was why bother releasing it that way, why not just instead just release songs as downloads they are completed?

Of course, this also means the days of concept and story albums will be ending. No more thematic coherence, no more song cycles, no more artists writing whole albums and brilliant dissertations of personal tragedies, divorces, and spiritual revelations! No turkey cacciatore. no turkey stew, no turkey sandwiches…..d%#@ Bumpuses!!

Consider this your record store, especially if you, like me, lean towards the lesser known, but very high quality artists! Like in all good record stores, you can expert the clerk to make an occasional off-the-wall recommendation that will turn you on to a future favorite artist and even to occasionally argue with your personal choice! Ah….. those were the days!