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