I love these cats and hope that they will do more in and hopefully we will be joining them again soon! Once again, thank you to the Double Down and their fantastic crew and to everyone who played and especially to everyone who made it out! This Xmas gift thanks Mel! Hooking up with Kim Fowley turned out to be both a blessing and a curse as was often the case with Fowley - he got them a record deal with Mercury as he did with the Runaways but when they dared to ignore his demands in the studio, he promptly ignored them, concentrated on the Runaways, and let them flounder, leaving the record to essentially go nowhere.
Now, whether or not early-to-mid 70's masses would appreciate their Sparks-like quirkiness is up for speculation although I think, if anything, these cats might be more commercial than Sparks, but that's kinda hard to say , but it is a shame that this record was buried for so long. This CD release has the Mondo Deco album as well as the Mercury Demos many of the same songs but a couple of surprises and an unreleased outtake of their song "Anybody".
The album features a very Sparks-like take on the Beatles' "It Won't Be Long" with a touch of the "William Tell Overture" just for kicks , followed by a self-admitted variation on the piano waltz "Chopsticks" who knew they were so classically oriented?
I don't remember with its super-live, ringing, trash-can-ish, driving drums and simple, sing-along chorus backed with power chorded guitars galore and a wildly noisy ending. Interesting production, though, with some backwards tracking and harmonic interplay, which leads into their take on "Rag Doll", of all things, with more production tricks and a nod to Nazareth, oddly enough, with Brian May-like guitar work and nice rhythmic backings.
With "Last In Line" they get a bit abrasive in their chord progressions while still maintaining the poppy edge, while their "My Purgatory Years" is the record's "anthem" - practically a teenage opera - their mix of the Who, the Move and Sparks. But, "Don't You Want It" is really more memorable and was their show-stopper, complete with incongruous props, which was turned against them by Starz fans at the Santa Monica Civic, per the liner notes!
The Mercury demos has somewhat different takes on "No No Girl" a bit rawer with a edgier middle break , the non-LP "Teacher's Pet", which they say the fans liked more than they did, but I'm with the fans on this one - this is a great tune and a self described mix of the Nice and the Who! The group consisted of Billy Bizeau on keys the last to join but pretty damn indispensable, if you ask me , Steven Hufsteter on guitar, Danny Wilde vocals, Ian Ainsworth bass and Danny Benair drums, many of whom who continue to make a name for themselves in the LA scene in one form or another.
A truly fantastic, relatively unsung despite the cover versions piece of Hollywood History. Get this! Unusual for many rock'n'roll biographies, Guralnick actually knew Sam Phillips and had many discussions with him before he started this project and began to "formally" interview him - which, apparently, wasn't a "normal" interview process. Phillips was a story teller that could move from tale to tale and time to time, so it seems like it might have been a challenge to put this bio together in a coherent and entertaining manner.
But that he does. Sam grew up in a small town with a loving, supportive family and a love of music, although he never thought that he would be a musician himself. Instead, he got involved in the more technical aspect of it all and, after moving to Memphis - a big city that immediately captivated him when he first visited it - he landed jobs in radio, and worked hard and learned how to record and produce sound, which, naturally, led him to want to start his own recording studio.
His plan was to capture the sounds of the music that was largely being ignored - particularly gut-bucket blues - and created the Memphis Recording Services to do this. Of course, he took other jobs in order to pay the rent - recording shows for radio, conventions, etc. One of the first musical adventures of note was when he was asked to record B.
King - then still a radio DJ who performed locally but was gaining popularity. He worked with BB on a few sides but nothing really clicked with the public - as opposed to his work with Ike Turner's Kings of Rhythm which resulted in the smash hit, "Rocket 88".
Unfortunately, this hit did not guarantee more studio work and while he did generate a few more big numbers Howlin' Wolf recorded his first hits at Sam's studio , there were many ups'n'downs, including an aborted early attempts at Sun Records, managing his artists and even starting a radio station. But, it all came together for Sam when he finally decided to give a greasy-haired kid a try with Scotty Moore and Bill Black backing him and Elvis broke through a hepped-up cover of Arthur Big Boy Crudup's "That's All Right" backed with a similarly upbeat take on "Blue Moon of Kentucky".
Things changed quickly, though, as they do in the rock'n'roll business, but Sam always kept busy with numerous ventures - most pronounced being radio, although he kept his studio even after selling Sun Records - and his life continued to be colorful and creative. A good portion of the book concentrates on Sam's life after Sun Records, which, while colorful - his affairs alone could fill a book, it seems - is not as interesting to a rock'n'roller as his early work.
But, it is an epic life lived by a larger-than-life figure and Guralnick does his best to capture Phillips' essence of devil-may-care attitude, passion, excitement and love for music and for his friends and family.
Again, I feel that a large portion of the book detailed less interesting times comparatively of Phillips' life, but Guralnick was a part of that life and was involved in many project featuring Sam besides this book, including a documentary and some recording sessions. All in all, a nicely informative book, despite my nit-picking criticisms.
Where would we all be without Sam Phillips? Not a place that I would want to be! Of course, Memphis has always had a place in my heart as the home of rock'n'roll, with Sun Records recording and releasing Elvis, Jerry Lee, Carl Perkins and more, as well as the pre-rock'n'roll bluesmen like Howlin' Wolf and B. When I visited there in , I damn near fell in love with the city - its history combined with a great current r'n'r community, excellent food, and amazing sites all blended together in a siren call attempting to keep us from ever leaving!
Since then I have learned more about the city from multiple books including Robert Gordon's compendium to this CD, also titled It Came From Memphis some editions of the book included the CD, although mine did not, unfortunately - I just got this for Xmas - thanks Eileen! This record compiles many of the characters that Gordon referenced and revered in his book, from legendary wacko r'n'r DJ Dewey Phillips to local rockers to old school blues artist to photographer William Eggleston, who closes the album with an ambient audio piece.
From there we also get numbers from Cliff Jackson and Jellean Delk with the Naturals doing a hilariously terrific blues, pure noise in a good way from Drive Inn Danny with the Killers From Space, amazing one-woman blues from Jesse Mae Hemphill love all of her stuff!
There's a fantastically detailed booklet included - also from Robert Gordon, natch - with crappy Xeroxed photos laid out in early punk rock style, but with tons of hip info. Both the book and this CD are highly recommended! Born in , Shines picked up the guitar as a teenager and soon was playing the blues for a living - even earning the title "Little Wolf" after performing some Howlin' Wolf tunes during a break in the big man's set. He also met and toured with none other than the master himself, Robert Johnson, who would remain a major influence on Shines for the rest of his life.
He made some recordings that went nowhere, backed up a number of major players and eventually retired until he was rediscovered in the 's blues revival. Here he is captured live at Washington University in St. Louis in , primarily just his voice and acoustic guitar, although he is joined by Leroy Jodie Pierson who I am not familiar with on a few songs.
SIDE If you desire to listen to a few short sound clips recorded from this record, just email me with your request and what format MP3 or WAV files and I will forward the clips to you as soon as possible. W YEAR: ??? Must be Satisfied If not completely satisfied within 30 days of receipt, make arrangements to return in original condition for full refund less shipping charges. Butch knows his audience, and seeing this done live is the best way to absorb it.
Tex had a big life, but his buoyant voice was always the centerpiece of every country song. Because let's face it, those things are terrible. Ken Shimamoto. Daniel Johnston, "True Love Will Find You In the End" Despite the flashes of popularity, curiosityand heartbreak that have sprung up around Johnson in the last two decades, his songs have always remained pure, unconcerned with fads or the passing of time, forever obsessed with monsters and love. Ornette Coleman, "Lonely Woman" The prophetically titled The Shape of Jazz to Come would manifest its shapelessness with avant-garde improvisation and arrangements that were completely devoid of orthodoxy or structure.
Zach Hale. Buddy Holly, "Everyday" Like all of Holly's best, the song is remarkably simple, yet it exudes a profoundly earnest and deceptively bold song craft.
Albert Collins, "Frostbite" Remember that scene in Adventures In Babysitting , where the singer of a blues band tells Elizabeth Shue, "Nobody leaves this stage without singing the blues"? The "Master of the Telecaster" lived on the stage. Did Lefty sell Pancho out? Did the federales really just pity him and let him go? Were they the same person, or Pancho just the fantasy of a washed-up obscure blues singer? Even the late Van Zandt himself wasn't sure, to hear him tell it, but a it's beautiful ballad nonetheless.
The scene paints itself as soon as you hit play: a tequila hangover; snug, dirty boots on your feet; and the smell of a cowboy hat over your face. Nick Rallo. That he and Townes Van Zandt were buddies comes as no surprise; their lives were parallel in the most heartbreaking way. Sir Douglas Quintet, "Mendocino" That swirling organ line alone is enough to secure a spot on this list, but this single was the Quintet dressed in their San Antonio best. This is his most well-known hit, but check out "Space Race" as well.
Buddy Jerry Jeff Walker then went on to record the song in Janis Joplin, "Piece of My Heart" Joplin doesn't just sing a song, she muscles all of the longing, flirting and humor out of a melody and heaves it at you. If you have ever questioned her vocal delivery, consider how she makes giving away her broken heart sound inevitable but downright fun.
Plus, that chorus is history-making. Buddy Holly, "That'll Be the Day" The lyric — both lovestruck and vaguely threatening in a passive-aggressive way — captures the panicky feel when one half of a couple doesn't want a relationship to end, over an incongruously upbeat melody.
Add to that a great guitar solo, vocal harmonies, a runtime of just a bit over two minutes and you've got the formula for countless rock gems to follow.
He was incredibly prolific in his 70 years on this planet, and even recorded with the 13th Floor Elevators. Roy Orbison, "In Dreams" Orbison's great falsetto delivery and the song's epic climax showcase what a singular talent the Vernon, Texas, native was.
The perfect marriage of emotion and song cemented the status of Blue Velvet , too. Ernest Tubb, "Waltz Across Texas" Ernest Tubb was the role model for old-school country, with simple sentiments sung off key, and pedal steel playing a prominent role in the arrangement. Big Mama Thornton, "Ball and Chain" Listen, around the mark, your chest is going to be split open, your heart is going to be ripped out, and you're going to be better for it.
Willie Mae Thornton left no soul unshaken. Willie Nelson, "Crazy" With its efficient but biting lyric, jazzy progression and off-kilter timing, "Crazy" defined the career of Patsy Cline and gave Nelson the freedom to establish his own solo career.
The Dallas icon's version of the Don Nix song features scorching guitar and an insistent piano part from producer Leon Russell, with the late Donald "Duck" Dunn holding down the low end. Barbara Lynn, "You'll Lose a Good Thing" This Beaumont southpaw is often overlooked when it comes to both soul singers and guitarists, but for the mid-'60s, she was a trailblazer. This single, which she wrote, is an almost perfect pop song. Darryl Smyers. The Houston group did something truly remarkable in less than four blissful minutes: They constructed a song in real time, pivoting on that shrugging guitar riff, that atomic bassline and Bell's multi-tasking sing-song.
It's one that has the power to make even the most conservative turn a hip.
Moving On - Gary Moore - Still Got The Blues (Vinyl, LP, Album), Two Hearts Beat As One - U2 - U2 Treats U (Vinyl, LP), Act Two, Scene 3: The Matchless Mine, Summer 1896. - Douglas Moore & John Latouche - The Ballad Of B, Placido Domingo And John Denver - Perhaps Love / Annies Song (Vinyl), Drogue - Cercle Vicieux - Drogue (Vinyl), IV - Toccata - William Mayer / Samuel Barber - William Masselos, Milwaukee Symphony Orchestra, Kenne, Laarzen Aan Mijn Voeten - Van Dik Hout - Van Dik Hout (CD, Album), Z Tobą Tak Dobrze Mi Jest • Its Good To Be With You - Trubadurzy - Zaufaj Sercu (Vinyl, LP, Album), My Mans Gone Now - Bill Evans Trio* Featuring Scott La Faro* - Sunday At The Village Vanguard (Vinyl, 鉄のきりん, Aow Pai Luey - Micro (16) - 10,000 Fahrenheit (CD, Album), Amousement - Intelli Step 01 EP (File, MP3) En Skygge Af Dig Selv - Rasmus Seebach - Rasmus Seebach (CD, Album)