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.

The Byrds - Eight Miles High

The Byrds are certainly one of the most influential and revered bands, merging the poetry of Dylan with the beat of the Beatles. Their trademark jingle jangle of an 12-string Rickenbacker guitar, and merged harmonies were so widely imitated.

The line up comprised of jostling egos and contrasting personalities - Roger (changed from Jim!) McGuinn the brains, Gene Clark the soul, Chris Hillman the groove,  and David Crosby the passion. They started as folk-rock, ended with country, but in the middle were the trailblazers for a new psychedelic genre, with the "Eight Miles High" single released in early 1966.

Describing their 1965 tour of Swinging England, the title coming from the altitude of their transatlantic flight (increased to 8 as homage to "8 Days a Week"), but also doubles as their new fascination with mind-altering drugs.

Like an acid trip, their tour was strange and disorienting -  from the mutual respect when meeting  the Beatles, the hostile press ("Nowhere is there warmth to be found"), inclement London  ("Rain gray town known for its sound"), to the fans' hysteria ("Sidewalk scenes and black limousines").

It was mainly written by Gene Clark (although McGuinn disputes this), with the sound heavily influenced by their tour bus tapes of Ravi Shankar and John Coltrane's "India". A revolutionary assault of noise proceeds, McGuinn's  Rickenbacker free jazz solos  attempt a sitar effect, the ominous bass, robust drums, and the sweet shared harmony vocals.

Strangely they needed to record it twice, as the original session was at an unapproved RCA studio, and Crosby still prefers the first.

"Eight Miles High" did not make the top 10 unlike their previous smashes, partly because of radio ban for its drugs connotations.  Like "River Deep, Mountain High", it was too dense, intense and ahead of its time.

Clark left very shortly afterwards, and Crosby a year later, as the new direction of country and Gram Parsons beckoned. The Byrds left a stunning legacy, and "Eight Miles High" a key landmark  in modern music history.

Hear Now - https://www.youtube.com/watch?v=J74ttSR8lEg  and here is the original version https://www.youtube.com/watch?v=JGbokn4r38o

Hear Next -  There are some excellent Byrds albums, especially "Sweethearts of the Rodeo", but a newcomer can chose from the multitude of the compilation albums.


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

The Cure - Just Like Heaven

I don't like dancing, but I might make an exception for the Cure. There is a strange contradiction with the Cure, that despite their black clothes, Goth miserablist image, they frequently produce shiny, irresistible, life-affirming pop songs.

The dreamy "Just Like Heaven" proves the case, a touching love letter alloyed to the most  joyous danceable music

.

Writer and leader singer Robert Smith, first designed the music, but struck by its similar structure to "Another Girl, Another Planet", he added more Cure-like chord changes. The lyrics written as it was recorded in the South of France, recollected a blissful romantic day at Beachy Head with his girlfriend Mary Poole (later his wife, she appears in the video).

The brisk opening of  "show me, show me, show me how you do that trick",  merges Smith's childhood of performing magic and with a more adult notion of seduction. Dizzily he recounts the encounter, the passion of their kissing, the unimaginable exhilaration and future hopes ("Dreamed of all the different ways, I had to make her glow"). He is completely lost to her ("You, soft and only"), but being the Cure, there is just a hint of uncertainty, as the final verses reveal him waking from a dream.  Was any of it real ?

The lyrics are sweet and heartfelt, but the main attraction is the performance. The beat is driven by the thumping drums and crashing cymbals, while the upbeat melody is supplied by a swirling synthesiser. The lead guitar jangles warmly, while the other guitars are fuzzy and distorted. Completing the package are Smith's passionate, swooping vocals.

"Just Like Heaven" was not really a big hit, 29 in the UK and 40 in the US, but it quickly gained a reputation as one of the finest love of the 1980s. Accordingly, The Watson Twins and Katie Melua both released slower gorgeous versions, the latter for the film of the same name.

Robert Smith considers it their best pop single, so who am I to disagree ? If you are getting married soon, then I would recommend this for your first dance.

Hear Now - https://www.youtube.com/watch?v=n3nPiBai66M  and as a bonus the Watson Sisters version too - https://www.youtube.com/watch?v=-EmvAV9PYTA

Hear Next -  "Greatest Hits" is the best place to discover the peerless singles.

Tori Amos - Silent All These Years

Tori Amos is a soulmate of PJ Harvey and Bjork - driven, uncompromising, distinctive, idiosyncratic, even eccentric. Her albums may be a difficult listen, especially at first, but reward perseverance, giving up their previous gifts gradually. Her fifteen studio albums have been a beautiful and intriguing journey.

It began with "Little Earthquakes" in 1992, as she sought to forge her own identity, following the synth-pop group Y Kant Tori Read.  She succeeded with frank often autobiographical discourses on feminism, religion, love, failed relationships and rape. 

"Silent All These Years" was the first Amos song I heard, an appealing piano-driven ballad, dealing with women's subservience in relationships. Bizarrely she disclosed that she wrote it for Al Stewart, but her boyfriend convince her to keep it for herself.

Her starting point was the captivating piano phrase, that she described as a "bumble bee piano tinkle". The lyrics were inspired by the mute Little Mermaid from Hans Christian Andersen that she read to her niece.

It seems to be a addressed to a  verbose lover, while she is taciturn, but not by choice ("I got something to say, you know, but nothing comes"). There are hints at a pregnancy scare ("Boy you best pray that I bleed real soon"),  colourful details (the mother's "nasty dress") and one of my favourite put-downs for a rival ("What's so amazing about really deep thoughts").

Tori's vocals are soft, accompanied just by her acoustic piano and delicate orchestration. Until the bridge explodes with a stronger voice, enhanced  by her own counter backing vocals. She worries about being alone ("Years go by, will I still be waiting for somebody else to understand"),  but there is also some hope that she is finally finding her strength ("I hear my voice"). Maybe my analysis is not correct, but it always felt that its purpose was to help you find your own truth.

"Silent All These Years" was never a hit in the USA, and only 26 in the UK at the second attempt, but it managed to spread her message, and let people discover a powerful album. Subsequently female artists like Alanis Morisette definitely heard and understood.

A sublime early highlight in a distinguished career.

Hear Now - https://www.youtube.com/watch?v=HSYr0etDzRM

Hear Next -  "Little Earthquakes" is the entry point for a great exploration.



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

Paul McCartney - The Pound is Sinking

Paul McCartney only recorded with the Beatles for eight years, but it inevitably overshadows his 50 year solo career. A pity, because he didn't simply lose his magic in 1970, and there are so many great tracks to discover. His 1980s output is particularly neglected (even by McCartney himself as he rarely includes them in concert), surprisingly, as there were regular hit singles and albums in this era. Maybe the shadow of Broad Street looms too large.

A common accusation is that his solo albums are indulgent or lack focus without a strong producer, is evidently wrong, as "Band on the Run" was not too shabby. However bringing back the more demanding George Martin for the "Tug of War" album was always a welcome  move.

The first solo album to be released after my Beatles mania started in 1982, so it has a retains a fond memory for me.  He had dispensed with Wings, and invited guests like Stevie Wonder, Chet Atkins and even Ringo Starr, plus recording on the Caribbean island of Montserrat must have been fun too.

There are some excellent tracks, even a number 1 single, but probably my personal favourite is  the quirky and underrated "The Pound is Sinking". Effectively melds three earlier songs fragments to form something fresh and unusual, a trick from the Beatles (Abbey Road medley) and Wings ("Uncle Albert / Admiral Halsey").

The first part riffs on the absurdity of the financial market reporting ("The lira's reeling / And feeling quite appalling") years before Chris Morris and "The Day Today".  A quick jump leads to an unrelated part about a disappointing progeny ("you don't seem to have inherited many of his mannerisms").

A  return to the first theme is more positive, currencies are improving, reflected by the more urgent music. Then on to the final part, as he pleads that something didn't occur as the only met briefly (maybe a pregnancy?). A brief reprise of the title completes a classic McCartney mysterious tale of  whimsy.   

Paul relishes the vocals from the mock upper class of the second section to the rock 'n roll holler at  2 minutes 10 - a true delight. He also contributed most of the instrumentation, a superb lead guitar part, and I love the coin sound effect.

"The Pound is Sinking" is a hidden McCartney gem (one of many), a reminder of his seemingly effortless song construction and great vocals.  We are lucky to have him, and should never take him for granted.

Hear Now - https://www.youtube.com/watch?v=Jnxk0UkVQa4

Hear Next -  "Tug of War" and its companion "Pipes of Peaces" are the best examples of the 1980s McCartney.


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

Sufjan Stevens - Chicago

Sufjan Stevens is even more eclectic than Costello, drifting as his mood takes him-  indie-pop, electronica, a zodiac song cycle, symphony for an expressway, Christmas songs and a  requiem to his mother. A multi-instrumental, who revels in collaboration. No tribute album is complete without one of his radical reinterpretations.

My first purchases, and his most accessible were the "Michigan" and "Illinois" albums. The concept of an album for each state was a joke, and helped publicity, but I would have happily bought all 50. Typically the locations are a device to explore the big themes such as love, family, religious faith and loss.

 "Chicago" doesn't mention tourist sights or favourite haunts, more a buoyant celebration of freedom and exploration from his youth, recalling past road trips (like Paul Simon's "America"). The frequent "All things go" can be considered as a urgent positive step forward, or conclusion that nothing is permanent. He is destitute, sleeping in a van and selling his clothes, but there is also an optimism of a rebirth and reinventing himself. Even the regrets  ("I made a lot of mistakes") seem like a stepping stone, a lesson learnt.

The music dispels any ideas of gloom with bright instrumentation deeply layered. A hurried rhythm,  orchestrated brass and strings, and a uplifting spiritual choir are a joyous assembly. Stevens himself contributes a vibraphone, bass, piano, percussion and a wonderful wurlitzer organ.

He would eventually release five different versions, with typically quirky subtitles, "Adult Contemporary Easy Listening Version" and "Multiple Personality Disorder Version", but the album version should be considered the definitive.

"Illinois" was the critics' album of 2005, a sumptuous delight, repaying regular replaying. "Chicago" its centrepiece, regularly lent itself to TV (The Politician)and films (Little Miss Sunshine), predating his work and Oscar nomination for  "Call me by your name".

Sufjan Stevens does whatever he wants, a confounding but always intriguing enigma. Now when do we get the other 48 states, slacker ?

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

Hear Next -  "Michigan" and "Illinois" are the obvious classics.

Leonard Cohen - So Long, Marianne

Being a muse to Leonard Cohen sounds enviable - an idyllic life on a bohemian Greek island, free love, drugs, alcohol,  immortalised in song and on an album photo. Cohen even sent a heartfelt farewell as she was dying - passing within months of each other - a romantic ideal. Sadly the recent documentary "Marianne & Leonard: Words of Love" conveys the truth of infidelity, loneliness, abandonment and heartbreak. But can it tarnish the majesty of "So Long, Marianne" ?

Cohen adored women (and it was reciprocal), the inspiration for his classics  "Suzanne", "Sisters of Mercy", "Chelsea Hotel", but it was always Marianne, pervading the early albums.  Meeting on the Greek island of Hydra in 1960, him a struggling poet / author, her with a child and dissolving marriage. They continued an on-off affair for most of the 1960s, as she dutifully followed to New York and Montreal, but often left alone as he toured, recorded and caroused.

"So Long, Marianne" charts an entire relationship, from their meeting ("we were almost young"), his obsession ("such a pretty thing"), romantic bliss ("I love to live with you") and pain of separation ("why do I feel alone?"). The poet Cohen paints vivid images with indelible phrases ("cold as a new razor blade"). The religious references to angels and crucifix, an early indication of  a recurring Cohen theme.

He had wanted a sparse sound of just him and a guitar, but was overruled by producer John Simon, who arranged a richer but sympathetic arrangement of drums, bass, mandolin and fiddle. Cohen's deep often monotone voice is not loved by everyone, but I think it is perfect on this. The crescendo chorus  with Nancy Priddy is a thing of beauty, especially the "Marri-annne" part.

"Songs of Leonard Cohen"  was released at the end of 1967, by then he was 33, a latecomer. The album was acclaimed, inevitable comparisons with Dylan, and established his reputation as master songwriter and stunning performer.

"So Long Marianne"  remained a quintessential Cohen classic, with its love, pain and religion. His very successful comeback tours of the 2000s, often used its chorus as communal catharsis. Thousands sang, as Cohen gracefully tipped his hat. A memorable departure.

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

Hear Next -  "Songs of Leonard Cohen" is the perfect place to start.


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

Counting Crows - A Long December

Christmas brings a slew of festive often sickly songs, repeated ad nauseam. So it takes a real skill to find a different angle like the Pogues or Aimee Mann. The Counting Crows took a bittersweet view of December as whole. 

There had already been a strong streak of melancholy on Counting Crows's debut album, and even their biggest pop hit  "Mr Jones" analysed the illusion of fame and happiness. Charismatic vocalist and writer Adam Duritz later revealed significant mental health issues.

As they commenced work on their second album in December 1995, a friend of Duritz, was seriously injured following a traffic accident. He regularly visited her in the hospital during this month and recorded in the evenings. After one tiring session, he unwound with local friends, and between 4am -6am the whole song emerged. Alerting the band, it was quickly recorded live later that day in six takes.

"A Long December" is permeated with sadness and regret ("the feeling that it’s all a lot of oysters, but no pearls”). He recounts the hospital, friendships and the previous year. A plaintive piano and baleful accordion (there should a more accordion in modern music) intensity the mood.

But it is not all depression, as there is also a seesaw with hope. Each verse ends with a positive thought (a beautiful girl, a friend visiting, precious memories). The optimism that after a turbulent December, the new year will bestow renewed hope ("Maybe this year will be better than the last").  A nananana chorus lightens the tone and adds a festive touch to the sombre tale. A Christmas miracle as much as "It's A Wonderful Life".

"A Long December" was an unlikely to be a Christmas hit single, especially running to five minutes, but its reflection hit a chord (or people loved the nanana), entering the US top 10 at Christmas 1996. Live in concert, it could be even more sparse and overwhelming. A deserved success for an ambitious attempt.

Hear Now - https://www.youtube.com/watch?v=1D5PtyrewSs  (the video features Courtney Cox from "Friends", one of Durtiz's several Hollywood relationships)

Hear Next -  "August and Everything After" is one the best debut albums.

Chuck Berry - Sweet Little Sixteen

No single person invented rock 'n roll, but Chuck Berry has a strong claim, as John Lennon said "If you had to give rock and roll another name, you might call it Chuck Berry".

His key works from 1955 - 1959, recording in Chicago on the Chess label, are a ground-breaking fountain of self-penned hits typically invoking an American life of cars, school, girls (often suspiciously young), and rock 'n roll itself.

"Sweet Little Sixteen" is a great example, describing an emerging teenager, her love of music stars, but still controlled by the confines of her parents and school. It was written by Berry after a Denver concert, where he had spied an excited pubescent fan in a bright yellow dress, and her desperate quest for autographs ("Her wallet's filled with pictures").   

Her  alter-ego  has great delight at the rock n' roll shows, his lascivious admiration is clear "Tight dresses and lipstick /  She's sportin' high heel shoes". But it is an illusion as tomorrow she will be "back in class again" and enduring a wholesome image.

She is not alone, rock 'n roll is sweeping across the USA, as Berry name checks locations, which must have sounded so exotic for English listeners.

Even today the music sounds alive and invigorating, guided by Berry's distinctive lead guitar,  aided by piano, bass and drums. A potent concoction, hard to imagine its full impact in the 1950s.

Released as a single in January 1958, "Sweet Little Sixteen" was his biggest US hit at the time at number 2, and the opening track on his second album "One Dozen Berrys".

Brain Wilson loved it so much, that "Surfin' USA" was a direct copy, even shamelessly listing places too. Berry's lawyers sued, and were given a 50% credit. A little ironic as Berry had already reused the melody from  "Little Girl From Central" he recorded for a different label. The Beatles and Rolling Stones were also huge fans, with frequent Berry songs in their early repertoires.

Perhaps "Sweet Little Sixteen" does not seem as iconic as "Johnny B Goode", but it came first, a classic Berry rock 'n roll standard and its ripples spread far.

Hear Now -  https://www.youtube.com/watch?v=ZLV4NGpoy_E

Hear Next -  There are countless Chuck Berry compilations, all of which should include the classics.

Dar Williams - As Cool As I Am

Things often happen in threes - as I recall within the same month of June 1996, I saw the video of "As Cool As I Am" on Country Music TV, bought the "Mortal City" album and saw singer- songwriter Dar Williams perform at the intimate Telford's Warehouse in Chester (not many US musicians play Chester). I was infatuated, her lyrics droll and original and  the modern acoustic guitar folk style appealing.

"Mortal City" was actually her second major label release, branching out with more complex arrangements and ambitious songs like the seven minute title track. The breezy "As Cool As I Am", the opener, sets a defiant tone, and probably still her most famous song today.  Existing as the polar opposite of yesterday's "I Want You" by Costello, she rejects any jealousy or competitiveness.

Straight from the start, its sounds so fresh and enticing, fast paced with the striking and unusual heartbeat of the didgeridoo (we don't have enough didgeridoo in modern music).  The pace never relents, and Williams' strong voice is harmoniously backed by the Nields.

Her partner is possessive ("Like you own them just because you bought the time"), arrogant, and too flirty.  He frequently attempts to undermine and shake her self-confidence ("You tried to make me doubt, to make me guess, tried to make me feel like a little less").

But Dar is stronger, she has already moved on from her insecure and competitive past, now free so enjoy her life, as warns "I will not be afraid of women".  Finally, tired of his games, she departs, replying to his claim "that woman has a halo" with the mocking  "Yeah, she's really blond". A lengthy and intricate set of lyrics, providing a vignette of modern relationships.

Williams went on to record a further seven studio albums, maintaining her high level of songwriting, and excellent in concert (with two more shows in Chester).

In 2012 Dar Williams revisited many of her old songs for an acoustic album "Many Great Companions", including "As Cool As I Am" with Gary Louris (from the Jayhawks). She also released an accompanying video highlighting strong women -  an admirable version, and very worthy cause, but I missed the didgeridoo.

 

Hear Now - https://www.youtube.com/watch?v=2hEmtrgEjAM

Hear Next -  "Honesty Room" and  "Mortal City" are the two essential albums, but I would also highly recommend the "Cry Cry Cry" album recorded with Lucy Kaplansky and Richard Shindell.

Elvis Costello & the Attractions - I Want You

In over 40 years of recording, amassing 32 albums, Elvis Costello has matured from an angry young man  to the respected lounge singer, with stops along the way at country, pop, Americana, classical and jazz. Adventurous and alarmingly prolific, he is the artist I have seen most in concert (nine times), exploring his large back catalogue in inventive and entertaining shows  - the Spinning Songbook was a personal highlight.

I entered the Costello world  in 1986, an abundant and annus mirabilis even for Elvis with two top notch albums - the varied styles of "King of America"  recorded with the Confederates and reuniting the Attractions for the fierce "Blood & Chocolate", produced by old friend Nick Lowe.  Amongst an array of exceptional tracks, "I Want You" is my pick, a dark and brooding ballad, probably his most intense work.

Opening with "Oh my baby baby" on an acoustic guitar, sounds like the creepiest nursery rhyme ever. Costello is hopelessly in love ("I want you so it scares me to death"), but soon veering off into obsession, as each alternate line pleads "I want you". The single electric guitar now, alternating between two notes, sparse and claustrophobic.

Then a sudden shift, like a swish of a knife. The backing louder and more violent, the tone more threatening as her cheating is revealed. Possessive and jealous, imagining the details devastate him ("It's the thought of him undressing you or you undressing"). Costello eschews his normal clever wordplay, just concentrating on the pain.

On he goes over six minutes, aching, anguished, sinister ("I'm going to say it again 'til I instil it"). The final "I want you"s are a hushed whisper and broken. He must have been drained after completing the recording. 

"I Want You" always felt like an ambitious single release, no radio DJ would be playing this for his morning commuters, even at half the length. But it as a concert regular, it could wreak its power, silencing and hypnotising any audience.  

As a studious admirer of great music, Costello would have appreciated that both the Beatles, Marvin Gaye and Bob Dylan used the same title, and his "I Want You" merits such august company, a stark and impassioned highlight.

Hear Now - https://www.youtube.com/watch?v=CykE5DFJVr0  You can also check out great live versions with the Roots and Fiona Apple.

Hear Next -  Let just start with "King of America" and "Blood & Chocolate" and take it from there.



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