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 Thanks for reading my blog.

I am happy to announce that I have compiled my blog into a paperback book or Kindle ebook that is available on all Amazon sites. 

Here is the link to the UK version -

https://www.amazon.co.uk/Songs-Quarantine-David-Plumbley-ebook/dp/B08FMW9V4G/ref=tmm_kin_title_0?_encoding=UTF8&qid=1597254223&sr=8-1

Bob Dylan - Murder Most Foul

Obviously during these dark days, there was little new music, the only solace from stripped down home concerts. But when we needed him, Bob Dylan stepped up, as he entered his 80th year, releasing his best song and album of the 21st Century (admittedly not the highest bar).

On March 27 as the virus raged, he suddenly posted on Youtube a new sprawling 16 minute epic, with  thanks for his fans' support.. An unexpected surprise, as Dylan had not released any original songs for eight years (just three standards albums).  And even better, it was superb !  

"Murder Most Foul" incorporates a host of shared cultural references, inviting comparisons to "American Pie" (or even Billy Joel's "We Didn't Start the Fire"), but also Walt Whitman's free verse poetry (pretty appropriate for a Nobel laureate).

The main focus is on President Kennedy's assassination in 1963, and he pulls no punches ("Being led to the slaughter like a sacrificial lamb"). Heart-broken, shocked and appalled, Dylan obviously endorses the conspiracy theories ("Greatest magic trick ever").

But this is just a jumping off point, as he invokes the DJ, Wolfman Jack,  with "American Pie" references to the Beatles ("they're gonna hold your hand"), Altamont and Woodstock. He see-saws back to Dallas, its traumatic impact on Dylan and the country ("The place where faith, hope, and charity died"), before widening his roll call to songs (NPR found over 70), performers, movie stars, gangsters and even Shakespeare. He even combines both themes, with Oswald's quote allied to an immortal country singer ("I’m just a patsy – like Patsy Cline"). 

There is a real joy for any Dylanologist in poring over the lyrics. "Wake Up Little Suzie", a clear Everlys reference, but is it also for 60s girlfriend Suzie Rotolo ? The more cryptic "Play it to Carl Wilson too / Looking far down Gower Avenue" refers to his backing vocals on a Warren Zevon track. Hours of fun during the lockdown.

The backing is low-key, but effective, guided by the piano, with dashes of strings and cymbals. Dylan sounds wonderful -  warm, solemn, sometimes speaking, sometimes crooning, often chilling.

"Murder Most Foul" was rapturously received, even giving him his first US number 1. The album "Rough and Rowdy Ways" followed shortly, equally acclaimed, and again containing multiple cultural references. Definitely one of his finest in the last 40 years (along with "Time Out of Mind" and "Oh Mercy").

I had always envisaged finishing my blog with all-time favourite "Hallelujah", but Bob Dylan provided an allegorical extravaganza to help us through the apocalypse.  A song we didn't know before the pandemic, but was my essential sound of the quarantine.

Hear Now -  https://www.youtube.com/watch?v=3NbQkyvbw18

Hear Next -  "Rough and Rowdy Ways"


** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats - https://tinyurl.com/y43mbr2b 

Jeff Buckley - Hallelujah

Bob Dylan adored, even envied, "Hallelujah", one of the first to recognise its power, including it in his live set in 1988. A famous anecdote has him  quizzing Cohen about how long it took to write, "Two years ! And how about your I and I song?", to which Dylan replied "about fifteen minutes".

But Cohen had lied, it was more like five years, as he grappled and toiled over 80 verses. Finally he honed it to under five minutes, and recorded it for his "Various Positions" album in 1984. But Cohen's career was at a low ebb, so his American label rejected the album, a little understandable, as it was swamped with synthesisers and 1980s production. But it was released in Europe, and he rescued " Hallelujah" in concert tours, often inserting alternate verses.

Ex Velvet Underground member John Cale was intrigued, so when he prepared to cover it for the Cohen tribute album "I'm Your Fan", he enquired after any other verses. Cohen promptly faxed fifteen pages, and Cale chose his favourite five verses, which have now become recognised as the standard lyrics. His version was stark but beautiful, just accompanied by a piano.

Jeff Buckley (son of 1960s troubadour Tim), loved this arrangement, and included it as a centrepiece of his live shows and debut album "Grace" in 1993. Accompanied by a solitary chiming guitar, it demonstrates Buckley's full vocal range. A soft and tender opening, rising to a powerful chorus, even shouting before he ends with a final angelic elongated Hallelujah. Devastating, exquisite but brittle. A whole range of emotions in six minutes.

So what does "Hallelujah" mean ? It covers the archetypal Cohen themes, religion is obviously key, including the title's rejoicing, and biblical epics of King David and Samson. Veering into love and relationships (like Samson's betrayal), music (a very meta reference to the song's chords) and then sex ("I moved in you").  Reverential but with some of Cohen's sardonic wit ("I did my best, it wasn't much") and colloquialisms ("ya" repeatedly).

Buckley opened the floodgates, as it was used (probably overused) in countless TV  & films (most notably Shrek), and a flood of new cover versions. Reaching its mainstream peak at Christmas 2008, when X-factor Alexandra Burke took an abbreviated version to number 1, just holding off  a strong campaign for Buckley at number 2.

It is hard to analyse why it is so special and appeals to so many, but perhaps because it is so flexible and open to interpretation. Stunning and heartbreaking solo, but also uplifting with a full orchestra and gospel choir. Familiar for funerals and remembrances, but also weddings and celebrations. Religious, but sexy. Solemn but witty. The four syllables of the chorus repetitive and compulsive.  

Buckley saw little of its success, dying in 1997 aged just 30. "Hallelujah" was an emotional catharsis of his Cohen's glorious final concerts,  before he passed too aged 82 in 2016. Two unique talents, inextricably linked by a timeless enigma. My all-time favourite.

Hear Now - https://www.youtube.com/watch?v=vIw0ewEsNHs

Hear Next -  Utilise Spotify and Youtube to explore an abundance of versions including kd lang, Bono, Allison Crowe, Willie Nelson, Rufus Wainwright, Regina Spektor and Damien Rice.

** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats.

The Beatles - In My Life

It is difficult to get bored of the Beatles, but if their work ever feels too familiar, then grab some headphones, increase the volume and focus on the individual instrumentation. There are so many hidden delights, especially the integral core of drums and bass. "In My Life" is a good case in point.

One of the Lennon's proudest achievements in the Beatles, "In My Life", began life in 1965 as a childhood travelogue, recalling the bus journeys from his home, invoking sites such as Penny Lane, Church Road and the Liverpool overhead railway. Considering it too boring (no one could ever make Penny Lane exciting), he transformed it into a more generic and universal  nostalgic lament for former haunts ("Some have gone, and some remain") and old acquaintances or lovers ("Some are dead, and some are living").

However there is a twist, this not a simple longing for childhood (like "Goin' Back"), but actually a glorious exultant of a new love. Lennon is testifying that the new lover is the most important ever ("There is no one compares with you"). He is not downplaying the fond memories but extolling the new ("In my life, I'll love you more").

Lennon wrote all the lyrics, and stated that McCartney only helped with the melody in the middle. Paul disputed this, and recalls devising the whole melody in the style of Smokey Robinson.  

Recorded in just one session in 18 June 1965 with three takes, producer George Martin subsequently overlaid a piano in the prepared gap a few days later. The piano solo is the most distinctive part, recorded at half speed and then sped up, to give a florid baroque sound, reminiscent of a harpsichord. 

Then there is the drumming - Ringo was never flashy or overpowering, and here his syncopated pattern is subtle, and repeated cymbals sweet and effective. Starr may be scorned by some, but never from a fellow drummers (ask Dave Grohl).

McCartney's bass completes the foundations, allowing the other two guitars to flourish. Lennon's double-tracked vocals are impressive, especially the falsetto part, and richly complemented by Paul and George in their magical three part harmonies or backing vocals.

 

Typical of many of the Beatles early classics, a memorable thought is delivered in under two and a half minutes, and was "just" an album track on "Rubber Soul". Most  recognised its greatness though,  with covers from a multitude of  varied artists like Judy Collins, Bonnie Tyler, Johnny Cash, Sean Connery and Ed Sheeran. Even George Harrison included it as the only Beatles song in his 1974 US tour, but amended the key lyric to "I love God more".

"In My Life"  is concisely written, recorded superbly in a minimal timescale, and fully highlights their musical talents. A gun to my head, forced to choose just one Beatles song, this would be my pick.

Hear Now - https://www.youtube.com/watch?v=YBcdt6DsLQA

Hear Next -  "Rubber Soul" is an excellent place to start, as their craft matures.



** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats.

Dusty Springfield - Goin' Back

Carole King is rightly lauded as an illustrious songwriter, performer of the huge-selling "Tapestry", her life even inspiring a Broadway jukebox musical "Beautiful".  However, sometimes it seems that her song writing partner (and one-time husband) Gerry Goffin is neglected. A real shame, as his lyrics could elevate even King's  tunes, and he possessed an incredible knack of writing insightful lyrics from a female point of view, such as "Will You Still Love Me Tomorrow?" and "(You make me feel like a) Natural Woman".

"Goin' Back" is an excellent example of Goffin's sensitive and mature lyrics, as he pines for the innocence of childhood. Tentative recordings were made by Goldie and King herself, before it was given to Dusty Springfield, recording in a single session in June 1966, produced by Johnny Franz. 

Dusty  was unquestionably the best and most successful UK female singer in this era, pipping Cilla Black and Sandie Shaw, as they often jostled for the latest sure-fire smash from the Brill Building teams  - Bacharach & David, Greenwich & Barry and Goffin & King. No coincidence that Springfield's peak, the wonderful "Dusty in Memphis" album would contain four Goffin & King compositions.

"Goin' Back"  is steeped in wistful nostalgia, as childhood seemed so simple ("Those days when I was young enough to know the truth") and carefree, with evocative images of skipping ropes, sailboats colouring books. Endorsing a credo of living a day at a time ("And live my days instead of counting my years"), he wishes to rediscover his childhood feelings.

Springfield vocals, as always, are soulful and emotive, capturing the full melancholy and longing of Goffin's lyrics. Starting with a definitive lone piano emphasising King's yearning melody, it builds gradually until the instrumental break, where the orchestra (arranged by Peter Knight) cuts loose. Then back to quiet for the end,  Dusty's final slow sustained whispered line is simply heartbreaking.

"Goin' Back" was rush released as a standalone single in the UK within three weeks, making the top ten, as was her custom. Americans had to wait two years before the Byrds released a mellow version as a single. The first of many covers, becoming a standard, recorded by the likes of  Diana Ross, The Pretenders, Phil Collins and Elkie Brooks.

But none beats Dusty's original, a perfect union of a great melody,  supreme lyricist and one of the finest voices ever.

Hear Now - https://www.youtube.com/watch?v=XvWiiUgT8Nk

Hear Next -  "Dusty in Memphis" or "Halfway To Paradise: The Goffin & King Songbook" three CD compilation.

** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats.

Glen Campbell - Wichita Lineman

There are some storied instances of songwriters partnering with performers, but none better than Jimmy Webb and Glen Campbell. Together they combined for indelible hits such as "Galveston" and "By the Time I Get to Phoenix", but "Wichita Lineman" is their sublime peak (Dylan Jones even wrote a whole book about it).

Campbell was an in-demand session guitarist, part of the famed "Wrecking Crew" working for Phil Spector, the Beach Boys and Elvis Presley, before his solo career took off in 1967. In the next two years, he released a staggering eight studio albums, so demand for songs was high, and Webb a reliable source.

The trigger for "Wichita Lineman" was a call from Campbell asking for another "place" song, after the success of Phoenix. Webb was reluctant to be typecast, but recalled a perfect vision of driving across an Oklahoma prairie, an endless row of  telephone poles into the horizon.  The only variation was an engineer on the top of one, and imagined the desolate life of this blue collar worker.

Again there is memorable opening line "I am a lineman for the county", and proceeds to describe the unrelenting task in extreme weathers. In a flight of fancy, he imagines speaking to his loved one down these wires,  and his desperate entreaty  "I need you more than want you / And I want you for all time". Campbell's vocals soaring to the climax.

For the recording Campbell recruited his fellow session musicians - James Burton on guitar, Jim Gordon on drums, and Carol Kaye on bass provides the striking opening notes. Producer Al De Lory (his uncle was a lineman!)  arranged a stunning lush orchestration of strings, while an organ mimicked  morse code.  The unusual switching of keys adds to the strangeness of the sound.        

    

Actually the song wasn't complete, Webb's submission had just two short verses, with no chorus or bridge, so Campbell fleshed it out with improvised solo on Kaye's bass. Webb was shocked when they informed him it was complete, and has always hated the time / line non rhyme at the end.

"Wichita Lineman" was another large hit for Campbell, cracking the top 10 on both sides of the Atlantic. Its timeless appeal lead to frequent covers, including Tom Jones, Johnny Cash, R.E.M. and Guns 'n Roses. None can match the majesty of Glen Campbell's, as designed from him specifically by Jimmy Webb.

Hear Now - https://www.youtube.com/watch?v=Q8P_xTBpAcY

Hear Next -  The Glen Campbell CD -  " Sings the Best of Jimmy Webb 1967–1992" includes all their collaborations.

** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats.

Bob Marley & the Wailers - Waiting in Vain

During my travels, it has been interesting to see the spread of music. Of course, the Beatles are omnipresent, but curious to see the Cranberries are so popular in Thailand, Taylor Swift in Cambodia, James Blunt in Argentina and I even saw an OMD cassette in a Bolivian market. However I would suggest the most universal is Bob Marley, his laid-back reggae winning hearts around the world.

1977 was a pivotal year for Marley, as he sheltered in England after his recent shooting in Jamaica.  A very productive year, as he recorded two albums, played lots of football and shuttled between the homes of his wife Rita and the recently crowned Miss World, Cindy Breakspeare.

"Exodus"  was released first in June, now regarded as his career highpoint, featured his key themes of religion ("Natural Mystic"), politics ("Exodus") and inspiration ("Three Little Birds", "One Love"). 

Then there are love songs, which we assume are dedicated to Breakspeare. "Waiting in Vain" was written in Nassau in her company, and one of the earliest songs to be recorded in London.   Waiting is a common homily for songwriters (Tom Petty "The Waiting" a great example), and Marley had already recorded "I'm Still Waiting" in 1965.

  

Despite its title, "Waiting in Vain" is gloriously sweet, as he is truly besotted ("My heart says follow through") and  patiently determined to win her love through the seasons ("three years since I'm knocking on your door").  He is under no illusions that it will be difficult ("I'm way down on your line"), but just pleads for respect and that his time is not wasted.

Although Marley was the obvious focus, we should not overlook the support from the Wailers. It must be difficult to appear this effortless, accompanied by a languid swagger.  The melody is powered by the keyboards and an understated but consummate guitar solo from Junior Marvin.  The unobtrusive shuffling drums and female backing vocals complement perfectly.

Marley would die aged only 36, but the 1984 compilation "Legend" kept his flame alive, a sales behemoth, still in the charts today.  An astonishing tribute to a global love affair.

Hear Now - https://www.youtube.com/watch?v=8WQVb_nuKvs

Hear Next -  Of course everyone should have "Legend", so "Exodus" is the next choice.


** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats.

The National - Fake Empire

There is a multitude of  interesting, but bizarrely named 21st century American indie bands on my iPod- the Decemberists, Okkervil River, Arcade Fire, Vampire Weekend, the Hold Steady - so it is easy to mistake them on shuffle. But you can never mistake the distinctive earnest melancholy tones of the National.

"Fake Empire" - a single from their fourth album, released in 2007, is probably the track that established their reputation, before the acclaimed success of "High Violet".   

An unusual breakout, as it was never a hit single, sounding positively haunting and disorientating. The effect of guitarist Bryce Dessner wanting to try a polyrhythm on the piano, two competing different rhythms in tandem. The effect is eerie, as the piano opens alone, stark and confusing. As it builds, the bass, drum pattern and arresting French horn seem to be clashing against each other.

 

Against such a disconcerting backdrop, lead singer Matt Berninger breathed an suitable  hymn for a restless and disillusioned generation. 

There are typical wholesome American references to apple pies and lemonade, but with unnerving undertones ("Put a little something in our lemonade"). They are not fully living the American dream ("We're half awake in a fake empire"), things are askew.  

But it is not all discouraging, as the advocate treasuring the smaller things in life, like bluebirds and ice-skating. For the moment, we can ignore bigger picture ("Let's not try to figure out everything at once") and live in the moment. It is subtly written, doomed but hopeful, the discordant backing always concerning.

Although never a hit single, it was instantly seized by TV and movies, as a shortcut to doubt and desolate malaise, the sombre piano the key. Barrack Obama's campaign team also loved the music,  so it underpinned one of their key commercials. The start of mutual love affair, as the National opened for his events on several occasions.

"Fake Empire"  seems to be the perfect soundtrack for the uncertainties of 2000s, and the National supply erudite and dissonant ambience.

Hear Now - https://www.youtube.com/watch?v=KehwyWmXr3U

Hear Next -  "High Violet" is their standout album.

Joni Mitchell - Carey

If you were to debate the greatest female singer from the modern era, then I would expect Joni Mitchell to be up there with Dusty Springfield and Aretha Franklin. For the best female songwriter I would envisage her to be vying with Carole King and Ellie Greenwich. So, the best female singer / songwriter has to be Joni.

 During a lengthy career, she spent many years exploring her love of jazz, but it is  her early acoustic early days that will be most fondly remembered.  In particular, "Blue" is a shockingly personal album, with confessional revelations about her loves, failed relationships (with James Taylor and Graham Nash) and even giving up a child for adoption. Nothing was hidden in one of the key albums of the 1970s, that still resonates today with all songwriters.

"California" and "Carey" were based on her European travels in 1970, after her break-up with Nash. She finally reached Matala in Crete, a quiet primitive small seaside town, where hippies had congregated in the caves.  

"Carey" is her literal account of her friendship with a young American, Cary Raditz (her adding of an "e" was a spelling mistake), a passionate redhead, who cooked at the Delfini's restaurant. They enjoyed their time together, eating, drinking, walking, and her composing new songs on her Appalachian dulcimer. For his 24th birthday, her gift was the first version of this tribute to him.

The opening "The wind is in from Africa"  has to be one of the most evocative openings, with her  poet's eye.  She has described him as a scoundrel ("you're a mean old Daddy"), but was obviously attracted, as she emphasises the repeated "I like you"s. But  Joni was no hippy or backpacker, she hated the grime and missed her creature comforts ("my clean white linen and my fancy French cologne").  Homesick, she knows she will depart soon, but wants to enjoy a final night out with Cary.

Like fellow Canadian Leonard Cohen's classics (such as "Chelsea Hotel"), it is a warm recollection of a brief carefree moment in time.

The recording captures the classic early Mitchell style, with a jaunty and easy upbeat simplicity. Her pristine soprano is simply stunning (great backing vocals too), and  I always love the sound of her dulcimer playing (there should be more dulcimer in modern music). Although James Taylor accompanied most of the "Blue" album, on this occasion Stephen Stills supplies the acoustic guitar and bass.

Joni Mitchell will never be able to shake off "Blue", a time capsule of a confessional from a heavenly voice.  "Carey" is a beautiful and tender highlight.

Hear Now - https://www.youtube.com/watch?v=wfZJ6sHeA6k

Hear Next -  "Blue" is always the entry point, but then progress to "Court and Spark".

Lynyrd Skynyrd - Sweet Home Alabama

Another response or retaliation song, this time probably the most famous, as two 1970s performers traded blows to produce a resounding classic. Neil Young had been very critical of the Southern USA  on "Southern Man" and "Alabama", calling out their racism, the roots of slavery, and glorying in their Confederate past.

In 1974 Lynyrd Skynyrd mustered a forceful rebuttal, "Sweet Home Alabama", a hefty tribute to their homeland. Ironically none of the three Skynyrd co-writers came from Alabama, but lead singer and lyricist Ronnie Van Zant felt determined to defend the good and decent people who lived there, and not all were KKK zealots.

An affectionate reference to "big wheels keep on turning" (from Credence Clearwater Revival's "Proud Mary"), before he launches into Young, as he chides "Well, I hope Neil Young will remember / A southern man don't need him around, anyhow".

He waxes nostalgic about Alabama's clear blue skies and the esteemed Muscle Shoals recording studio. Southerners don't care about the national politics ("Watergate does not bother me"),  just local issues (" they love the Governor").  However any idea that they approve the controversial segregationist George Wallace is dismissed by the "boo, boo, boo". The following "Now we all did what we could do" also seems deliberately open.

A resounding response, but the music makes it legendary - a bluesy slab of country rock. One of the most famous and compelling guitar riffs, reinforced by an exuberant piano from Billy Powell. Even Northerners loved it. Van Zant's vocals  are impassioned and solid,  with perfect sweet harmonies from  the African-Americans Merry Clayton and Clydie King.

Lynyrd Skynyrd had made their point as it broke into the US top 10. However any antagonism was exaggerated, as mutual respect prevailed. Neil Young later admitted that his "Alabama" was heavy-handed, and theirs was much superior, while Van Zant would often wear a Neil Young t-shirt, even on an album cover.

Tragically Lynyrd Skynyrd's peak was short-lived, as they were decimated by a plane crash in 1977. But "Sweet Home Alabama" has flourished, a rallying cry for the South at sporting events or for eager politicians, title of a Hollywood movie, and now promotes Alabama's tourism industry.  A sense of pride captured in a classic rock tune.

Hear Now - https://www.youtube.com/watch?v=ye5BuYf8q4o

Hear Next -  "Free Bird: The Collection" is probably the best compilation albums for newcomers.

** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats - https://tinyurl.com/y43mbr2b 

Neil Young - Rockin' in the Free World

Neil Young is another ornery, contrary artist, seemingly taking great delight in frequently bemusing fans, as he flits between mellow acoustic, grungey power, rockabilly, synth-pop, or ecological concept albums. The only time I saw him live consisted of almost two hours of the yet unreleased "Greendale" and a few hits at the end. Unusual, maybe not what we wanted, but certainly mesmerising 

Young's 80's albums particularly frustrated, but 1989's "Freedom" was a definite return to form, with ravishing ballads, corrosive rockers, all bookended by different versions of "Rockin' in the Free World" (he did the same trick with "Hey Hey, My My"). 

After potential Soviet Union concert dates fell through, guitarist "Poncho" Sampedro made a remark that they would have to "keep rocking in the free world". This inspired Young to pen a searing state of the world address. The jingoistic title, like Springsteen's "Born in the USA",  misleads casual  listeners who misconstrue the real meaning (like Donald Trump).

He skilfully encompasses homelessness, the Iranian Ayatollah's condemnation of the USA ("Don't feel like Satan, but I am to them"), the impact of drugs in society, before reserving  his  real scorn for George H Bush. Taking his quote a "thousand points of light" he adds "for the homeless man", and his  "kinder, gentler" is followed by  "Machine gun hand". Bush should consider himself lucky, Young devoted an entire album ("Living with War") to his son !

The two versions are significantly different, but both contain the same power and outrage.  The opener, an acoustic live solo is bolstered by his harmonica and the crowd's cheers. The closer recorded with his band in the studio, amplifies the dynamic riff, with a throbbing  intensity.

It is a favourite in his concerts, massed tributes / benefits, or guesting with Pearl Jam, where the raucous chorus, and the extended guitar break can last forever.

Perhaps "Rockin' in the Free World" is the quintessential Neil Young, reflecting his true dichotomy -  an acoustic troubadour extolling his political beliefs, but also a rampant rock 'n roll mythologizing guitar hero.  

Hear Now - The acoustic version - https://www.youtube.com/watch?v=3q751WgE2RI and the electric version) -   https://www.youtube.com/watch?v=DvxxdZpMFHg  

Hear Next -  "Freedom" is the most accessible of his 1980s releases, but newcomers should start with "Decade", an assembly of his earlier classics.

** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats - https://tinyurl.com/y43mbr2b 

The Beach Boys - Caroline, No

Brian Wilson, the genius of the Beach Boys, had a mutual respect and zealous competition both with the Beatles and the producer Phil Spector. Each of their innovative releases, raised the bar to new unimagined heights. Music that still today sounds stunning and revolutionary.  

His finest hour, May 1966's "Pet Sounds" album was sandwiched between Spector's epic "River Deep, Mountain High " and the Beatles landmark  "Revolver"  What a time to be alive!

The closer on "Pet Sounds" was the aching ballad "Caroline, No", a melancholy elegy to the loss of innocence and youth. The Beach Boy's previous carefree jubilation of surfing and cars was quickly retreating into the distance.

The genesis was co-writer Tony Asher recalling an ex-girlfriend Carol, who had undergone a radical change. Wilson's misheard the line "Carol, I know",  so set in chain a sad lament to previous untroubled times.

The key is the simplicity of the lyrics, four short verses, each ending with heartfelt "Oh Caroline". Things have changed - her long hair gone, the "happy glow" disappeared and so had their love. He is distraught ("It's so sad to watch a sweet thing die") and ponders if their relationship will ever recover ?

The mood is exquisite but disconcerting and sombre. For the recording, Wilson borrowed Spector's beloved session musicians such as Hal Blaine, Carole Kaye and Glenn Campbell. He pursued new and different sounds, overloading the mix with percussion, harpsichord, flute, vibraphone. The eerie echo at the start coming Blaine hitting a water jug. Wilson's wrought vocals, were sped up to appear sweeter and younger.

There is some confusion to the credit. As Wilson was the only Beach Boy involved, he actually released it as his first solo single, strangely competing with the Beach Boys' own  "Sloop John B". But within two months, it appeared on "Pet Sounds" intact, with only the addition of the train and dog effects.  

The pressure on Wilson took its toll during the abortive "Smile" sessions, and like Spector, subsequently spent years in seclusion. But fans and radio still adore the Beach Boys happy surfing sounds and critics revere "Pet Sounds". 

Hear Now - https://www.youtube.com/watch?v=SoqYQdregRI  and an outtake of just the slower vocals - https://www.youtube.com/watch?v=ixyfgVEopeE

Hear Next -  Obviously "Pet Sounds" or one of the myriad of Beach Boys compilations.



** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats.

Suzy Bogguss - Hey Cinderella

In the 1990s, country music incorporated a  wide umbrella of excellent female performers, verging on folk (Nanci Griffith), bluegrass (Alison Krauss), confessional singer-songwriter (Lucinda Williams, Mary Chapin Carpenter) and pop (Trisha Yearwood, Martina McBride).

Suzy Bogguss falls into the latter category, and I enjoyed her videos regularly featured on CMT.  By 1993, and the consummate "Hey Cinderella", she was already on to her fifth studio album, firmly established as a mature Nashville star with country hits such as "Aces", John Hiatt's "Drive South" and "Outbound Plane".

"Hey Cinderella" was co-written with Gary Harrison and Matraca Berg. The latter, seemingly a songwriter of choice for all female country artists, but also an excellent recording artist in her own right.  

The premise considers what happens in "happy ever after" of a romantic fairy tale, and it sounds like it isn't that happy after all.

The narrator first reminisces on her friend's picture perfect wedding, with the champagne, music, an aimed bouquet and mustang departure. Pondering the flurry of subsequent years of jobs, kids and dashed hopes, she concludes there is a settling in settling down ("We're older but no more the wise / We've learned the art of compromise").

The dreams can still be recalled, but the song's images are the decay of rusting bikes, dusty dolls and aging. Reality hits hard, as she muses "Does the shoe fit you now?" in the biting chorus line. Harsh, but realistic.

Bogguss' vocals are powerful and clean, punching the "Heeeey-yyy !", accompanied by the modern country sleek sheen of drums, pedal steel guitar and keyboards.

"Something Up My Sleeve" was probably her commercial peak, but she managed to sustain a lengthy career,  including a series of releases on her own Loyal Duchess label.  "Hey Cinderella" is an abiding memory of a vibrant Nashville scene, from one of its superior entertainers.

Hear Now - https://www.youtube.com/watch?v=YjVbi-nUGgA

Hear Next -  Bogguss had some great singles, so " 20 Greatest Hits" is great place to start.

Billy Bragg - The Saturday Boy

Billy Bragg has been a constant in my adult life, so selecting just one track was nigh on impossible. The early "one man Clash", the soulful Mary years, or today's elder statesman? Political or romantic ?   "A New England", "Greeting to the New Brunette" ,"Tank Park Salute",  "A New England", "Scousers Don't Buy the Sun". Or even the wonderful but obscure "Walk Away Renee" ?

Finally I opted for  "The Saturday Boy" from his second album in 1984, a tender and heart-breaking reminiscence of a adolescent infatuation.

Recounting a first discovery of girls ("a magic mystery to me"), a platonic relationship involved double history lessons, walking home together and an unforgettable dance at a school disco (to the Delfonics).  He was deluded ("lied to myself 'bout the chances I'd wasted"), he could never get a girl like that, as he wasn't even in the football team.

The reality dawns in the crushing ("In the end it took me a dictionary / To find out the meaning of unrequited / While she was giving herself for free / At a party to which I was never invited"). One of the most heart-rending lyrics ever, combining his typical wry humour of the dictionary, with the pathos of schoolboy alienation. 

The schooldays first love is a trope of countless TV and movies, but Bragg captures the curiosity, hope, obsession and pitiful heartache, perfectly in under four minutes. No chorus, or reference to the title, just a wistful text. 

As an early Bragg recording, the electric guitar is still the key focus, but less harsh and more sympathetic.  A trumpet flourish adds a reflective tone to the extended outtro. His voice is still raw and brutal, but conveys the regret.  

"A Saturday Boy" was never a single, but struck a chord with many nostalgic adult males, and still a staple in concert (Bragg whistles the trumpet part).

Billy Bragg is such a distinguished political writer and activist, it would be a great shame if people missed the beauty and emotions of his frequent romantic songs. A singular talent.

Hear Now - https://www.youtube.com/watch?v=2CBWDp71UPM   and a recent live version  https://www.youtube.com/watch?v=fRkea-sp40w

Hear Next -  "Talking with the Taxman About Poetry" remains my ultimate Bragg album, but all of them are excellent.

The Jam - Eton Rifles

The Jam were a peerless British singles band. From the end of the 1970s, they produced a succession of modern pop classics, regularly topping the charts - "Start!", "Going Underground", "Beat Surrender" and "A Town Called Malice". A soundtrack for my youth.

A punk band, but songwriter / lead vocalist Paul Weller didn't hide his 60s influences - The Beatles, The Who, The Small Faces. Style and fashion were as important as the sound, revelling in a mod revival with their sharp suits.

"Eton Rifles" from 1979 is a study in class warfare, in a punk style. Weller wrote it whilst on a rainy holiday in a caravan in Selsey Bill. He recalled a socialist "Right to Work" march, which descended into violence, as they passed the privileged Eton scholars near Slough. 

A bad mistake, as the rugby-playing Etonians wrought carnage ("you didn't take a peep in their artillery room"). Their failure  a metaphor for life too, as he bleats ("What chance have you got against a tie and a crest?").

Weller is an always an astute lyricist - a clever double wordplay on "fag",  slang for a cigarette and a lower year valet in a public school. He also took dig at their rivals The Clash ("Compose a revolutionary symphony"), and I always admired that he managed to incorporate "catalyst" into a pop song.  

For just three members, The Jam always managed to create such a racket, and this is no exception.  The energy and unalloyed excitement stems from prominent drums (always key to the Jam), to the howling guitars. This time Weller also overdubbed an impressive organ solo (he loved the Specials). The chorus "E-ton Rifles! E-ton Rifles!"  a playground or football terrace delight.

In a bizarre twist, and apparently little insight, David Cameron, who was at Eton at that time,  has revealed it is one of his favourites. Weller was aghast.

Perhaps The Jam were too British or parochial to be as internationally renowned as the Clash, but we should celebrate this, and cherish their incomparable vision and passion in remarkable vinyl 7 inches. As relevant now as they were then.

Hear Now - https://www.youtube.com/watch?v=qmWWgGn9plU

Hear Next - "Snap" was one of the earliest albums I bought, and remains an indispensable compilation of their singles.

Richard Thompson - Beeswing

Richard Thompson jekyll and hydes between his intense electric guitar maestro epics, and touching acoustic guitar ballads, often devoting a whole album to one type. He excels at both.

His extensive back catalogue starts with the seminal Fairport Convention in the 1960s, sublime duets with wife Linda in the 1970s, and since the 1980s a regular flow of top notch  solo albums. 

Although I love the variety of his work, it is the tender storytelling ballads that appeal the most.  Highlights such as  "1952 Vincent Black Lightning" or "Galway to Graceland"  can encapsulate a whole engrossing fable within five minutes, comparable to any novel or a movie.  

"Beewsing" is set in the 1960s, but as he so seamlessly taps into the traditional folk style, it could be from any century.  A lament of love for a free spirited woman lost to excesses. Loosely based on Anne Briggs, an influential folk singer from the 1960s, he recalls only meeting her twice, but she was drunk both times.

 

In the this story, he is bewitched by a beautiful laundry girl, a wild child ("an animal in her eyes"), but vulnerable too ("Fine as a beeswing").  Soon they are enjoying a transient life together, with old style references to fruit picking, busking and tinkering. Overcome, he makes the fateful suggestion of settling down together, and she replies with the cutting ("You might be lord of half the world / You'll not own me as well"). They parted after an alcohol fuelled argument.

He hears later that she briefly married, but now is haggard and wasted ("But maybe that's just the price you pay / For the chains you refuse"). He bitterly regrets letting her go, but also concedes she could never be tamed into a conventional relationship.

In keeping with the folk roots, it adopts an attractive melodic reel, featuring finger-picking his acoustic guitar, pipes and fiddle. I remember in concert, it was even more stark and beautiful.

A sad tale from the traditions of folk music, by an excellent and versatile modern artist.

.

Hear Now - https://www.youtube.com/watch?v=YsKEMZW8VmE

Hear Next -  " Watching the Dark: The History of Richard Thompson" is a comprehensive three CD collection from his entire career.

Natalie Imbruglia - Torn

Not many actresses from Australian soap operas forge  a successful and credible music career, apart from Natalie Imbruglia (OK, maybe Kylie too). 

Her debut "Left of the Middle" from 1997 was a stylish, edgy indie-pop record, and revealed Imbruglia's talents as writer too, co-writing most of the tracks with a variety of producers.  However her breakthrough single was a cover of an obscure song, that the producer Phil Thornalley knew well.  He had co-written "Torn" with Scott Cutler and Anne Preven in 1993,  and it had already been recorded by their group Ednaswap and the Danish singer Lis Sørensen, but without any success on either occasion.

In "Torn" the narrator has finally woken up to acknowledge that she has fallen in with an illusion, and not the real person. Their relationship has stalled ("conversation has run dry") as she realises he doesn't live up to her hopes and ideals ("you couldn't be that man I adored"). She curses that the dream never came true ("Illusion never changed / Into something real"), so feels lost and vulnerable ("I'm all out of faith").

Imbruglia's version probably succeeds where the others failed, because of the performance. Her  vocals are light but impassioned, supported by the catchy guitar riff and soft percussion. A perfect union for a remarkable song.

The theme of illusion extended to the memorable video, with her and a handsome man in an apartment, quickly revealed to be a film set. The whole package was very enticing, going on to be a massive hit across the world (number 1 in Iceland, Spain, Canada and US radio play), garnering MTV awards and Grammy nominations.

Her subsequent albums had declining sales, but contain some high quality material. not too poppy, maybe best pitched as lighter Garbage. She has also juggled acting (Johnny English), judging X-factor, campaigning and motherhood.

Her music output may have been latterly discarded, but no one will forget "Torn", a shining pop confection.

Hear Now - https://www.youtube.com/watch?v=VV1XWJN3nJo and the original version by Ednaswap https://www.youtube.com/watch?v=9OoEdfB7l18

Hear Next -  " Glorious: The Singles 97–07" as the title suggests is a wonderful compilation of her best moments.

Johnny Cash - Hurt

Most of my previous choices have been written by the performer, or supplied by a legendary songwriting team. However I still have an appreciation of a radical cover version, where an artist can expose layers that even the writer didn't know existed. Johnny Cash in his later years was the ultimate interpreter, bringing gravitas and insight with his honest and weathered voice.

Since 1950s Johnny  Cash had been a country legend, releasing over fifty albums, renowned for prison concerts and TV shows. Like his great friend Willie Nelson, an outlaw and an iconic national treasure.

In the early 1990s his career was in the doldrums, bereft of long time label Columbia, his music formulaic and safe, while wracked by pain from various medical conditions. But Rick Rubin recognised his unique talent, so revitalised Cash for the old and new generations with a series of "American Recording" albums. Stripped and authentic, mixing originals, standards and his distinctive take on recent classics like U2's "One", and Tom Petty's  "I Won't Back Down".

Rubin pressed him to be open minded, and included "Hurt" in the potential tracks for the fourth instalment. It seemed an unlikely selection, written by Trent Reznor for his industrial metal group Nine Inch Nails, a  tormented howl of self loathing, self harm and depression for his heroin addiction. However in Cash's hands, it transformed into a requiem to mortality, as his end rapidly approached.

The  poignancy of his loneliness ("Everyone I know / Goes away in the end") is remoulded from the pain of rejection to his viewpoint as the last man standing. Reviewing his tempestuous life ("What have I become?"), there is  inevitable pain he has caused loved ones ("I will let you down"), so he wants a chance to try again.  Even Reznor was astonished, admitting " that song isn't mine anymore".

Cash's weary vocals are accompanied, first by a desolate acoustic guitar, and then an increasing hammering piano.  

A stunning performance, but even more enhanced by the mourning video of Cash performing  in his decaying house /  museum, his haggard appearance, contrasted with flashbacks from his glorious career. Devoted wife and singing partner June Carter lends support. She passed away three months later and a broken Cash soon after.

"Hurt" would be one of his final releases, but a fitting and emotional testament to a long and distinguished career.

Hear Now - https://www.youtube.com/watch?v=8AHCfZTRGiI

Hear Next -  There are over 100 compilation albums, but 3 CD "Love, God, Murder" encompassing the key Cash themes.

Journey - Don't Stop Believin'

Your age probably determines when you first heard and loved "Don't Stop Believin'". Was  Journey's soft-rock hit in 1981 ? A recent X-factor or karaoke performance ?  The "Wedding Singer" movie in 1998 ?  In the classic final scene of The Sopranos in 2007 ? Or its pivotal use in the teentastic "Glee" the 2009 ?  Quite a feat to link "The Sopranos" and "Glee", but then it is a special song.

Let's begin at the end. Keyboardist Jonathan Cain had only recently joined Journey, but as they searched for another song, he gifted them his father's "Don't Stop Believing" rallying cry.  From there the band reverse engineered a classic pop song. Unusually they decided bury the killer chorus at the very end, even after the instrumental solo break.

But it didn't matter, as they already had us within the first few seconds, the wildly catchy piano melody and the Springsteen-like opening line "Just a small town girl / Livin' in a lonely world".  The theme is instantly revealed, as a desperate quest for love and success in a lonely world. Short evocative scenes ensue - the midnight train (a nod to Gladys Knight's hit), a sleazy nightclub ("A smell of wine and cheap perfume"),  and an evening on the boulevard ("Strangers waiting").

They have been hurt before, but anxious to try again ("Payin' anything to roll the dice / Just one more time"). Not everyone will be successful ("Some were born to sing the blues"), but we are encouraged to keep faith and not give up hope, as life always continues.

Cain's repetitive piano is integral, a constant metronome throughout. The "Axis of Awesome" comedy troop wryly pointed out that the four chord sequence is prevalent in so many pop songs.

It is also compelling to hear how the sound grows, taking a minute before the spiralling guitar motif enters and another 30 seconds until the drums mark a pseudo chorus. Finally they all come together in the memorable break. We should also not forget Steve Perry's distinctive vocals, the phrasings as important as the piano, and the whole group's vocals fleshing out the chorus.  

 "Don't Stop Believin'" was originally a top 10 US hit, but has enjoyed extraordinary afterlife, primarily due to TV exposure, becoming a pop culture standard, and co-opted by sports teams and politicians. A just reward for an inspiring and carefully constructed masterpiece.

 

Hear Now - https://www.youtube.com/watch?v=1k8craCGpgs   and the clip from Axis of Awesome - https://www.youtube.com/watch?v=5pidokakU4I

Hear Next -  The "Escape" album was their commercial peak, or maybe a compilation.