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