How can I take the blame for anything I've done

Here is a hidden treasure from the vaults of 1968.  "My Father's Name Was Dad" by The Fire is one of those never heard gems that shoulda-coulda been a hit.   Like a cross between The Easybeats and The Who it has a chunky driving beat and groovy guitar hook.  Not much more I can tell you about this other than that this is exactly the kind of late life find that keeps me digging through the archives.  I just cannot get enough of this stuff.

And my mind is proud but it aches with rage

I remain gobsmacked by the pop band Lucius, fronted by two absolutely killer young lady vocalists. Due to job scheduling issues I have now missed them in Portland on three occasions. So the best I can do for now is enjoy their amazing YouTube live performances.

Here is their cover of The Kinks "Strangers", a Dave Davies nugget from "Lola vs. Powerman and the Moneygoround, Pt. 1". I love how this song keeps cropping up. It was used to devastating effect in Wes Anderson's film "The Darjeeling Express". The Lucius girls bring a vocal intensity that this beautiful song richly deserves.

So where are you going to I don't mind 

If I live too long I'm afraid I'll die 

So I will follow you wherever you go 

If your offered hand is still open to me 

No, you are the Messiah!

"Porpoise Song" is possibly The Monkees finest musical moment in terms of production and music.  Carol King outdid herself in capturing the sad aftermath of the Summer of Love, and her partner Gerry Goffin took George Martin and "I Am The Walrus" to the next level.   The final coda - only on the 45rpm single - is awash in organ, chimes and strings.  As far as I know, Micky Dolenz is the  only actual Monkee on the track.  It is a true one-off, never to be replicated.  I barely remember it from back in the day but it has become a dear favorite.

By the time this was released The Monkees TV show had been canceled and the subversive movie Head was about to crash in the theaters, quite literally.     Preceded by the top 5 showing of "Valeri", then the unfortunate release of "D. W. Washburn", "Porpoise Song" would only climb to 62 on the charts.  Peter Tork ditched the group soon thereafter.  The writing was on the wall but the remaining three held together for a couple more LPs.

We got no time for your silly toys

Thanks to The Kinks for one of my favorite Christmas songs - one that did not get much airplay back when it came out.   Probably due to the depressing subject matter of the song, but damn if the tune isn't a killer knock-off of Pete Townshend circa "Tommy".

Without further ado, from  1977 here is "Father Christmas":

But the last time I played Father Christmas
I stood outside a department store
A gang of kids came over and mugged me
And knocked my reindeer to the floor

The Road to a Real Good Time

Time for a brief break from my Monkees Marathon for a tune that has been stuck in my head for months.  I am a big fan of the neurotic comedy of Kristen Wiig, and recently watched the movie "Welcome To Me".  Since this is not a film review blog I won't go into details other than to say that Ms. Wiig was fabulous even if the movie itself could have been much tighter.  But during the end credits I heard a song that was new to me.  What I heard was a bizarre amalgamation of the Barry Manilow and Scott Walker, with lyrics that have to be heard to be believed.  The song is "ESP Switch" by Michael Farneti, a South Florida musician on his self produced album Good Morning Kisses.  On first listen I laughed at the outlandish lyrics and enjoyed the groove.  But hell if it has not stuck with me and I find myself dialing it up on Rhapsody on at least a weekly basis.  There is a joy in this song that just floats my boat.  The "is it love?" chorus is pure musical gold.

I have all the time in the world

For many years my least favorite Monkee was Davy Jones.   Not because of his voice, I just did not care for the songs that I associated with him.  Only late in the game did I discover that towards the end of the band - after Peter left - he had developed a knack for finding good songs by interesting songwriters and assisted with producing them.   Probably my favorite of those twilight years Davy songs is "Someday Man".  Originally released as the b-side to Mike's awesome "Listen To The Band", it never made it on an original Monkees LP.   Written by songmeisters Paul Williams and Roger Nichols, it has fine bass line that drives the verses along with an understated horn arrangement.  Then that killer chorus comes in and I get a big smile on my face.   The more I listen to this the more I like it.

Standing In A Landslide

In 1968 Michael Nesmith recorded a slew of his songs in Nashville with the apparent intent of including them on an upcoming Monkees LP.   For reasons unknown to me almost none of these tunes had an official releases while the Monkees were still a working entity.   Many would later be covered on Nesmith's fine 1970s solo records.   "Listen To The Band" was one of the few exceptions and was released as a single in 1969.

Many years later Rhino records obtained exclusive license to release a gigantic backlog of unreleased Monkees material.   Between three Missing Links sets and expanded releases of the original albums almost everything they recorded is now available.  Among the gems recorded in Nashville is "St Matthew", a semi psychedelic country number with phased vocals and killer twangy guitar.  Like many Nesmith lyrics these are bathed in pathos. On the surface they tell the story of a woman who lives life in the fast lane, but underneath there lies a sadness that belies the upbeat arrangement that encircles the song.

She walks around on brass rings that never touch her feet
She speaks in conversations that never are complete
And looking over past things that she has never done
She calls herself, "St Matthew" when she is on the run 

The emptiness in her eyes was cruel to see

With a blog named after my favorite Monkees' song, one would think I would have posted an entry about this band long before now.  For most of my adult life I enjoyed their hit singles but had no knowledge of their albums.  Only in the last few years have I made that leap, and in the process discovered several things.  (1) Mike Nesmith is a top notch song writer.  (2) They recorded dozens of songs that were never officially released until long after they broke up, and many of these are some of the best music they ever committed to tape.  (3)  They could actually play their instruments, although that really only occurred for a couple of LPs in the middle of their career. (4) I don't care that many of their songs were recorded with session musicians.   I love most of it regardless.

That said it is about time I featured them in some blog posts, so here goes.

According to Wikipedia "Love Is Only Sleeping" was planned as the preceding single to the Pisces, Aquarius, Carpicorn & Jones Ltd. LP, but "was canceled due to fears that the title of the A-side might be too risqué".   It was written by Barry Mann and Cynthia Weill, of course one of the top notch songwriting duos of all time.  I just love the syncopated guitar riff and Mike's Texas drawl.  And to top it off it ends in a flurry of psychedelic feedback.

Martha My Dear

The new Beatles 1+ release with two Blu Ray disks of videos is just about the best Beatles product ever.   The CD portion is fine although the Fab Four community is up in arms over the omission of "Please Please Me" since it was a #1 on some charts in the UK.  The new mixes are nice, with more clarity in just about every regard.  The guitar in "Paperback Writer" is absolutely pummeling.

But the videos are the real star here.  Going chronologically, they really kick in with "I Feel Fine" and never let up.   Options of stereo and two version of 5.1 surround are great but I am really in it for the actual videos.   To see those four together, singing, playing, laughing, enjoying themselves is what floats my boat.  Apple has pretty much shut down all Beatles videos on You-tube but who needs them now that we have top notch versions in an official release.   The videos that were initially created on film are just stupendous.   Restored with care and just bursting from the screen. 

Some days I think "Strawberry Fields Forever" may be my favorite song ever.   So thanks to Apple the new version is up on Youtube, and here it is.  But take my word for it, the actual blu ray version is twice as clear and deep.

Just a quick note to say that I have been away due to health issues.  Thanks to my doctors and my partner I am just about back to myself after nearly a year of recovery.  Howdy to all who may have wondered where I disappeared to.

And yes, Martha the sheepdog does make an appearance at the very end of the video, a detail I had never noticed before.

There were rules you never told me

A few months ago I mentioned that I had just purchased Paul McCartney's New album.   Well, I am here to report that IMO his winning streak is going strong.  In fact the deluxe edition contains a couple of bonus tracks that leave me wondering why they were omitted on the original release.  There are beau coups of ear worms here, and Mr. McCartney continues to venture into new sounds and structures.  Starting with Chaos and Creation from 2005 it seems that he has finally thrown off the shackles that lowered the value of his 80s and 90s output.

Queenie Eye belongs in the category of "just enjoy the ride".  From the opening mellotron prelude (shades of Sgt. Peppers!) to the piano driven pop of the song proper, this is one of those songs that only McCartney could deliver.  I consider it the 21st century cousin of Lady Madonna, with a driving beat and melody that never overstays its welcome.  Furthermore there is a heavenly almost whispered interlude right in the middle that makes me feel like the sky has lifted to the heavens, and brings out the most touching lyrics in this song:

It's long way, to the finish
When you've never been before
I was nervous, but I did it
Now I'm going back for more

The next best thing to be...

Here is a little taste of heaven, at least at the aural level.  I am so besotted by the duo lead singers of Lucius that I sought out every YouTube video that I could find.  And in the process stumbled across their live in the studio rendition of John Lennon's Free As a Bird.  The first soft vocal entry is absolutely perfect - the tone and harmony work is spine tingling.  And then.. on the next verse... the first word "Home" is delivered as a cascading overload of harmony.  A perfect sense of rhythm coupled with dead on pitch and breath control shoots this into the stratosphere.  The contrapuntal acoustic guitar and over amped electric lead guitar add sparse accompaniment that fits the song perfectly.   My partner and I are kicking ourselves for missing Lucius twice in 2014 here in Stumptown.   Next time they are anywhere near the West Coast - we will be there.

You've been acting strange of late

In 1965 my cousin Mary Rita married a young man named Roger, and they needed to get rid of some items to move in together, so Roger gave me his LP collection.   Among the gems were albums by Gerry and the Pacemakers (that "other" Merseybeat band) and San Francisco's own Beau Brummels.  That Brummels LP is long gone but I sure wish I had kept a hold of it.  The more I listen to their recorded legacy, the more I realize what a really fine band they were.  They had an ace songwriter in guitarist Ron Elliott, and one of the most unique vocalists with Sal Valentino.  Record company issues and changing popular tastes shortened their career, but before they called it quits in 1968 they produced a fine body of work ranging from their early folk/pop hits to psychedelia, with their final LP as a Nashville produced county/folk piece that I love dearly.

In 1965, as they were changing record labels, Fine With Me was intended as a single A side was left in the vaults, then re-recorded as a B-side on their new record company.  Over its Mamas and Papas bop-bop-bop vibe and acoustic guitar licks, Mr. Valentino delivers a deep soulful lead vocal. 

Changing now into forever

Gary Usher was a songwriter and producer who had a hand in some of the most gorgeous pop records of the 1960s.  He co-wrote songs with Brian Wilson early in the Beach Boys career, including the resplendent In My Room.  He produced my favorite Byrds LP The Notorious Byrds Brothers, their last record to include the nucleus of the original band.   His revolutionary production merged psychedelic effects throughout that record.  Along with cohort songwriter and musician Curt Boettcher they released one of my favorite lost sike-pop LPs Present Tense under the band moniker of Sagittarius. 

The oddly named Song to the Magic Frog (Will You Ever Know) boasts one of the most exquisite melodies that I can think of.   The accompaniment is mostly acoustic guitar and harpsichord, with xylophone thrown in for good measure.  Against this baroque pop atmosphere are angelic vocals that leap and soar into the heavens.   Frankly it can be tear inducing if it catches me in the right moment. 

Above the cloud-like, shimmering oval
Through some misty blue
Still before me
Stands the morning when I first saw you

Though it's only a whim

So here is the last of the three John Lennon songs that open Beatles For Sale.  Baby's In Black has a happy country-tinged atmosphere that belies the downright depressing subject matter.  The singer is pining after a girl who cannot get over the death of her lover.   Though I do not find it quite as wonderful as the two songs that preceded it, it does have a lovely middle eight in which McCartney leaps into the upper atmosphere, and the John and Paul harmonies are quite wonderful and remain from start to finish.  George furnishes a short twangy guitar solo with some unexpected leaps and slides that I only wish were longer.  And Ringo has some simple yet perfect fills, but you must listen carefully to hear them as they are not prominent in the mix.

Although I Laugh and I Act like a Clown

I'm A Loser is the second in the John Lennon trifecta that lead off Beatles For Sale.  And the blue mood started with No Reply just digs itself a deeper hole.   This album is the turning point where John's lyrics become more introspective, and consequently more real.

Just a few of my many favorite moments:

• John and Paul's exquisite harmonies in the intro
• The jangle of John's acoustic guitar, followed by Paul's bass entrance
• John repeatedly hits a low G
• Paul's walking bass line during the chorus 
• Ringo's cymbal work
• John's raunchy harmonica
• George's country picking on the solo

I tried to telephone

The first three songs on Beatles For Sale may be my favorite opening trio on any Beatles LP.   All three were written by John Lennon, and they capture him at his early peak.   His songwriting would evolve over the course of the next three years, but these sad melancholy love songs from late 1964 are just my cuppa tea.  John was still fully invested in the Beatles and their future at this point, and for at least a couple of more albums he would lead the way with his amazing songwriting talent.

No Reply was a brave choice for the opening cut.  Of course Paul McCartney's fingerprints are all over this song, from the great harmony work (in tandem with George) to the uptempo middle eight.   But it is John's glorious sense of melody and the emotional explosion with "I Saw The Light..." that just sends this over the top.   His singing turns raw and anguished, and it hits me right in gut.  The acoustic strumming and Ringo's sublime syncopation just add to the atmosphere.

October 9th 1940

Today is John Lennon's birthday.  There is nothing I can say other than I miss him dearly.

I was crying, left to die in this godforsaken place

For the last few months I have been on a Macca jag.  After years of being turned off by his creative low point in the 1980s I have finally embraced his late period renaissance.  With 2005's Chaos and Creation In The Backyard I felt that he was again at the top of his game, writing some of his most personal lyrics and lovely rainy day melodies.  That album is anything but a rock'n'roll album but I love it dearly nonethless.

His follow up release, which consisted mostly of songs started before "Creation", was Memory Almost Full.  Fellow blogger Tim mentioned to me that it is a fine album but for some reason I never jumped on board.  Until now.  I just picked up a used copy of the deluxe release.  On my way home from the record store I listened in stunned amazement.   This album rocks like nothing he has done in ages.  Why I waited seven years to dip my toe is due to a nagging fear that Paul could not keep up the high quality of it's predecessor.  Well I was wrong.

Perhaps the most Wings'ish sounding tune he has written since that band's demise is Only Mama Knows.   Not only does it rock like all get out, but it has a killer hook in the chorus, and when the harmonies kick in the last time around it sends shivers down my spine.   That a man in his sixties could write a power pop classic is a true testament to his inate sense of melody and skill at songwriting.

I just bought "New" so expect reports shortly.

You'll Shine Over Me Today

In 1973-74, Paul McCartney and his band Wings were on fire.  Singles Live and Let Die and Helen Wheels got the ball rolling, followed by the Band On The Run LP and two singles spawned from that triple platinum album, then Paul's great rocker Junior's Farm.   Also during this time Paul produced and co-wrote the music for his brother Mike McGear's 1974 eponymous LP.  And his band Wings came along with the deal, so for all intents and purposes this is a Wings LP with Mike McGear singing lead vocals. 

I bought this LP when it came out based on a glowing review in Stereo Review magazine.  IMHO this album was better than the next Wings LP Venus and Mars.  In fact it is somewhat of a lost treasure.  That said, there are some odd tracks that were clearly more musically risky than anything Paul was willing to commit to on an official Wings' album, but for me that only adds to the charm.  Rainbow Lady might not be the deepest or most expansive track, but it has the effortless Macca tunefulness mixed with some lovely harmony work.

See The Light

Unbeknownst to me at the time, Dwight Twilley and Phil Seymour were not the only 70's power poppers in Tulsa.  I was still in high school in Enid - 120 miles west of Tulsa - when Cargoe released their one and only studio LP on Ardent Records.  Yes, that same Memphis label that spawned Big Star.   And just like Big Star, the record company had immense distribution and financial issues before finally going down the tubes.   The Cargoe LP tanked as one might expect.  But their 1972 single Feel Alright went to #1 in Memphis and received considerable airplay in the South.

Cargoe was not so Beatles and Byrds obsessed as Big Star and their music shows a much broader range of influences.    The Wiki page for Cargoe states "Cargoe epitomized the funky Tulsa sound".   I could not agree more!  If you want to learn more there is a great write up on the band over at Bordel do Rock in which they are referred to as the "American Badfinger".  High praise indeed.

Feel Alright has so much going for it - powerful drumming, a killer jumpy jerking bass line, excellent CSN harmonies, and a complicated verse melody with hooks galore. 



Here is a smokin' live version: