The Year That Was: Gas Tank Edition Part 1 - 1971

The other day I was putting gas in the car and because I never fill it up all the way unless I’m traveling (it’s this whole anti gas prices/OCD thing), I usually cap off around $20, or $19 and some change. Anyway, I randomly stopped at $19.83 and I thought, “You know, some good albums came out in ’83…,” and from there I decided I’d do a series of posts under the Year That Was category based on my gas pump costs. Over the next couple of weeks I randomly stopped around the $20 mark and came up with two more years. And again because of OCD, I have to start in chronological order, which is not 1983 but 1971.

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The 70s brought a mixed bag of all sorts of styles, from dirty and nasty (punk) to glossy and chic (disco), but all essentially rock music, with 1971 providing some heavy hitters that simultaneously signaled the high mark and the decline/end of true grit rock n roll as part of the public mainstream. Many of the below artists were holdovers and mainstays from the hippie generation and the infamous Summer of Love, and in some instances a counter response to that, with these albums paving the way for the “classic rock n roll” sound that dominated and defined the first half of the 70s, and ultimately defeated the genre.

Rolling Stones – Sticky Fingers: My hands down favorite Stones album, it’s the perfect blend of blues and sleaze, with foot stomping rockers, sublime ballads and extended jams that cover pretty much everything these guys were best at in the midst of their heyday.

Michael Nesmith – Nevada Fighter: Perhaps an ever so slight dip in quality from previous efforts (I blame stiff/stifled production), Nevada Fighter is still a highly enjoyable album with an almost experimental bend. Full of Papa Nes' quirky humor and flawless song craft, side two displays his unique interpretation of other artists’ songs. All in all, it’s another example of country rock in its earliest and best form.

Papa Nes

The Doors – LA Woman: A difficult album personally, but a favorite for fans overall, this was the Doors getting even deeper and further back into their roots. Sounding road weary and battle hardened, they’re veterans of the rock n roll war but still have plenty of fight and energy to show the new recruits exactly how it’s done; a logical, if unintended, swansong to the Morrison era.

Black Sabbath – Master of Reality: Providing another installment of “hard n heavy 101,” the godfathers of modern metal further expand their sound by incorporating ballads and brief classical pieces into their signature fuzz and doom, while maintaining the signature dark imagery that gave them so much notoriety, reflecting on drugs, Christianity, the socio-political fears of the times and not worshiping Satan.

Black Sabbath

The Who – Who’s Next: Ambition was always the key with Pete Townshend, and while folks will argue which of his masterpieces is THE masterpiece, I would nod towards Who’s Next for the ultimate culmination of pop perfection and a progressive, genre breaking finesse that continues to reach forward as it both defines and defies all categories 40 years later.

Fleetwood Mac – Future Games: The first of the era that eventually moved them into superstardom, with Bob Welch and Christine McVie firmly in place, Fleetwood Mac sounds reenergized, relevant and (no pun intended) futuristic, as they break new ground for what would become standard 70s AOR rock, while retaining a uniqueness that is in all ways timeless.

Led Zeppelin – IV: The last in the series of blues-infused folk rock, this is the album that you need and yet after listening to it over and over again, never really need to hear again since it becomes engrained into your very soul. I’m not saying it’s their best, but it’s their most essential.

Led Zeppelin

Kris Kristofferson – The Silver Tongued Devil and I: Capitalizing on his debut’s success, Kristofferson offers a set of songs that, for me, are stronger, deeper, and more poetic, cutting straight to the bone (pun intended this time). Kristofferson makes country “cool” with a gritty elegance and a melodic, woe is me humor never achieved by any other artist of the genre.

David Bowie – Hunky Dory: Bowie was still shedding his hippie skin here, but also developing his own voice with a collection of “safe” yet progressively unique folk-pop tunes that, with Mick Ronson at his side, would set the stage to blow the walls off of the confines of rock n roll forever. This is either the last of the “pre-Bowie” Bowie, or the beta version of Ziggy Stardust. You decide.

David Bowie

Pink Floyd – Meddle: Truly stepping from beneath the shadow of Syd, here the Floyd begins to flex the muscles that would bring on later masterpieces like Wish You Were Here and Dark Side of the Moon, though in a rougher, more embryonic and, in some ways, more satisfying package.

Van Morrison – Tupelo Honey: When Van is at his prime, as he is here, you can pick up any album and get everything you need. Tupelo Honey is just one of the many tastes, combining funk and soul with folky pop in a affecting, down and dirty, up on your feet way that, when coupled with his all powerful and expressive voice, is truly like nothing else on the planet.

Performance Review - Psychedelic Furs

On June 7, 2011, the Psychedelic Furs played Nashville’s Cannery Ballroom, and I was there.

My affair with the Furs runs long and deep, as they hit me in a way that few bands did in my impressionable youth and still do today (this very minute even), which speaks to the power and timelessness of their music. And yet in many ways, and especially to the world outside (Get it? No? You will…), they remain an enigma. They’re one of those seminal 80s bands that everyone can sing a song or three, but no one really knows much about them, i.e. no one is really a “fan.” I’ve known some exceptions to that rule, JT being one and J-Hern being another, but most folks give them a casual nod, whistle “that song,” and move on.

This is a shame, because to put it plainly – The Psychedelic Furs bring it. And they’re still doing so.

Their recorded output ended some 20 years ago with the mostly, even scandalously, even criminally disregarded World Outside, one of three masterpieces in their brief but compelling catalog, and the mature (ten years on), even logical foil to the “beautiful chaos” of their 1980 self-titled debut.

For this tour they’re touting their much lauded and equally fantastic sophomore album (for its 30^th anniversary), Talk Talk Talk. Still the original six piece wielding two guitars and a saxophonist, they effectively harnessed the all but controlled tumbling wall of sound from the debut and honed the edges into a more pop recognizable if not quite radio friendly blend of delicate snarl and raucous melody, the “everything punk can be” pushed to its final limits before breaking into something, well, transcendent, even socially defining (the stark realism found in these songs, though veiled, is truly staggering). This is the album that gave us Pretty in Pink, so I don’t have to tell you the cultural significance of that in and of itself.

And though this was not the classic line up that made the album, or even the full core members from their 80s heyday, we did get both Butler brothers (of course) and saxophonist Mars Williams (Midnight to Midnight, the soundtrack version of PiP, other 80s stuff you’ve definitely heard), plus Amanda Kramer from Golden Palominos and Information Society fame. Round it off with a couple of, relatively, newcomers, Richard Good on guitar and Paul Garisto on drums, and you had a solid band that was professional, competent and there to take us on a trip down memory lane.

Classic Talk Talk Talk line up

So, the Furs took the stage promptly at 8:00 and immediately kicked into the Talk Talk Talk album. This was the original UK track running, so Dumb Waiters came first, and it was as blistering, sardonic and borderline apocalyptic as it ever could have been 30 years ago. Richard Butler, still lithe in build and ever light on his feet, came out immediately charming, smiling, drawing us into the obscure yet insightful poetry of his lyrics, acting out the words as if playing the characters he sings about. He's truly a charismatic and inspiring performer...though I have to say Mars Williams about stole the show, and Richard both knew it and loved it.

And that, to sum it up, was the show.

Aside from a couple of thank yous, the band didn’t let up for the full 40 plus minutes of the album, keeping me on my toes with the unfamiliar order of the tracks, and following the notes and beats to the letter, which is exactly how you want it, ‘cos aside from great songwriting, it’s the little nuances that make Talk Talk Talk more than post punk, set apart from New Wave, something totally unique unto itself, and yet very distinctly Psychedelic Furs.

After a short break they were back, running through the retro radio hits (Love My Way, Heaven, Heartbreak Beat) and a few lesser known singles (Sister Europe, President Gas, Heartbeat), keeping the crowd engaged, energized and eager for more. Again, through the entire set, the band never lost momentum, never paused longer than it took to change out a guitar, say thanks and then burn into the next tune. I had wondered what Richard’s between song banter would be like, and I was thrilled that he kept it to a minimum, focused entirely on the set, the songs, his craft and, the reason for it all, the audience.

Richard Butler - the main man

I was highly expectant of this show and I was in no way disappointed or let down. Richard was in strong voice (which, after years of his gravely croon, I was sorta surprised about), the song selection was expected but satisfying (sure, there were songs I’d have liked to heard, and I’m saddened that both Book of Days and World Outside went overlooked, but it’s understandable) and the nearly full capacity crowd was truly great (see Nashville, you can do it…now why can’t you do it more often?). Honestly, you couldn’t ask for a better night for two folks for (much) less than the cost of 90% of the current acts who play watered down material with half the heart.

Listen to me kids, there are still a few dates left on the tour, and even if you only remember Pretty in Pink and/or Heartbreak Beat, if you love live music by a great band, go check out the Psychedelic Furs and let them Talk Talk Talk you into love with them.

Better Than the Beatles

I’ve said before that I listen to the Beatles, own all their albums and play them more than I like to admit (I even have, and wear, half a dozen Beatles t-shirts), but I’m not a big fan. I can’t really explain it more than to say that while I do enjoy many of their albums immensely, it doesn’t fill me with the same emotive inspiration or awe that so many other artists do, and for all practical purposes my interest in them is purely academic.

Of course I’m in the vast minority with this viewpoint, and that’s fine. The almost religious fervor that surrounds the “myth” of the Beatles is sometimes interesting, sometimes annoying and always, it would seem, present in the music of the last five decades. From Motley Crue to Lady Gaga, everyone has to show their roots, reverence or raditude (oh yes I did) by drooling all over them in interviews and/or by laying down a little homage to the Fab Four on either record or in concert.

More often than not folks cover a Beatles song ridiculously true to the original, and while a good Beatles song performed to the “B” is (almost) always enjoyable, as often as not I ask, “What’s the point?” So it’s nice when someone uses one of these “rock n roll hymns” as nothing more than a blueprint to do their own thing and effectively blow the notes off the page.

I’ve been toying with the idea of a “best cover versions” post for some time now, but earlier today it hit me that some of the best ones are songs by the Beatles. I even find it interesting that really all my favorite Beatles covers come from the “White Album,” which I feel is a grossly overblown and overrated outing, where the best songs (I Will, Julia, Good Night and anything not by Lennon/McCartney) are often overlooked for some of the most banal rock n roll slush ever (Back in the USSR, Birthday, Helter Skelter, etc).

Of course that’s way, way off topic…so, here are four Beatles songs from the White Album reworked by other artists and, in my opinion, much more agreeable for the effort.

Dear Prudence – Siouxsie & the Banshees: Admittedly this one isn’t far off the initial mark, but there’s a spooky, sexy spark (as always with Siouxsie) that kicks this otherwise low key yawner into pop perfection, which is likely the band just getting off on how much they love the original, but still makes the experience a hundred times more enjoyable. Plus, it’s got Mad Bob on guitar, so…there you have it.

Wild Honey Pie – The Pixies: I’m really not a fan of this screechy stomper, and the Pixies don’t necessarily make the song any better, but they give it a visceral, caustic, borderline sinister edge that at least makes it more entertaining, with some of Black Francis’ best screams put down on tape.

Happiness is a Warm Gun – The Breeders: Kim and Co make this their song. I mean they seriously, seriously own it. It’s as if the Beatles version was basically a demo written for the Breeders, waiting for them to get together and make the Pod album and then literally kick the life into it. The hokey, almost dorky original rendition of “mother superior jumping the gun,” when in the hands of the Breeders, is a conduit for startled bitterness verging on violence, which in turn makes the chaotic, ramshackle “bang, bang, shoot, shoot” breakdown more poignantly disturbing and ultimately believable. This is likely the best cover version of any song by any artist…ever.

Everybody’s Got Something to Hide Except for Me and My Monkey – The Feelies: This is a fun song no matter how you shake it, but the Feelies’ vicious attack fully realizes its true potential…even in this modern day live version. Crazy Rhythms (1980) is one of those albums that existed back with the creation of the earth and hung around in the stratosphere for the right time to manifest itself. Me and My Monkey was written to be on this album. Jerky, quirky, so high school awkward it makes me break out in pimples, it becomes an excellent centerpiece for an album that took the worn out, tired conventions of rock n roll, shook all the worthless posturing into the trash can and stitched everything back together with nothing but raw, impassioned energy holding it all in place. Go buy that record right now.

There's Only One Volume 4

Here are five more artists that if you only have the time or inclination for one, these albums would do you nicely.

Depeche Mode – Violator (1990): A perfect album. This is the culmination of everything DM had done up to this point, as well as the blueprint for everything they would do after. You’ve got the super hits (Personal Jesus, Enjoy the Silence) but you’ve also got seamless album cuts (Halo, Clean), creating a suite of songs that flow in and out of each other like a dark tide. Sexy, cool, elegant and beautiful, I promise you girls got pregnant to this album.

The Doors – Strange Days (1967): Fifteen or twenty years ago I’d have told you the debut all day long, and while the mega hits the Doors are most known for are found there, the key here is album tracks. Cut for cut, tune for tune, they’re just better. You’ve got the best of their straight rock (My Eyes Have Seen You), psychedelic crooning (You’re Lost Little Girl) and Morrison's poetic antics (Horse Latitudes), plus the hits (Love Me Two Times, etc) are easily as good, just not as infamous today. Oh, and you want to argue about The End? Well, I give you When the Music’s Over…talk about an apocalypse now.

Duran Duran – Rio (1982): I’ve spoken to this album before, and some days I may pick the debut as far as mood preference, but if you could only have the one, best stick with Rio. The most enduring of the hits are here (Rio, Hungry like the Wolf) plus a load of album tracks that are a perfect synthesis of post punk attitude and the New Romantic style and cheek. This is the New Wave Bible, easily the best album of the genre, maybe of the “80s” as we know them from MTV and public nostalgia.

The Go Betweens – Liberty Belle and the Black Diamond Express (1986): This was a tough call for me. I know this is in general a fan favorite, and to be sure it’s worthy of such. I still prefer Before Hollywood or Spring Hill Fair, but I think what makes LBatBDE the one to want is that it’s the middle point in the GoB’s road from angular, post punk art pop to the more elegant, streamlined and la-la-lovely pop that should have later made them world famous. With feet in both worlds, you get the crux along with the cream, and both are super sweet.

PJ Harvey – Stories from the City, Stories from the Sea (2000): While not my favorite PJ album, it’s admittedly the most accessible. A perfect coupling of excellent song writing and full band attitude, it’s not as crunchy (ok, grungy) as Dry or as murk-heavy as To Bring You My Love or as haunting as White Chalk, and while the dark and seedy imagery is there in full, the indie pop bounce lifts things up to more population friendly altitudes. But really, what makes it a must have is getting the full range of her majestic voice, from low mumblings to full on banshee wails, it’s everything she’s capable of doing on one disc and done to perfection.

Uncle Bob is 70

As many folks know, today marks a milestone in rock lore with Bob Dylan’s 70th birthday. There have already been countless articles written on this subject by folks far more qualified than myself, so anything I have to add will just be an ink stain of insignificance alongside the legit critics, rabid fans and those deeply in the know who have so much more insight into Dylan’s music. But being a reasonable fan in my own right, I would be remiss if I did not say a little something here.

I decided a couple of weeks ago that I would celebrate the day with nothing but Dylan in the speakers. Since it would be literally impossible to burn through all of his official albums, plus the loads of exceptional “extracurricular” material floating around out there, I decided to truly make it a mixed bag and jump all over the place as much as I was able.

I officially started things off last night with a little “pre party” listen to a bootleg (unofficial) set of mid 60s outtakes called Thin Wild Mercury Music, which contains alternate performances of a lot of well known tunes that in some instances (e.g. Visions of Johanna) blow the more familiar album versions out of the water.

The official festivities got going around 5:00 this morning, with me getting up at that unlawful hour in order to get my mom to the airport. Things rocked pretty steadily until about mid afternoon and then picked up again earlier this evening. Here’s the list:


Together Through Life (2009) – My disappointment with Modern Times made me reluctant to pick this one up, but now that I have, while I don’t play it much, each listen impresses me more and it’s a great sleepy morning mood setter.

Bringing It All Back Home (1965) – Easily my favorite of the “golden three” (my moniker), side one is kick out the balls, jams to the wall folk punk as lyrically surreal and musically muscular as anything else before or since, while side two sheds the skin of the “protest balladeer” with a sneering grace that proves his ability to do just about everything was at the whim of his muse.

Tramps (NYC, 1999) – This bootleg is stellar, from quality to performance to song selection, and what really struck me is how his songs, even ones that were 30+ years old at the time, are in a continuous state of metamorphosis, retaining the same heart but wearing an outer skin that keeps them relevant and progressive well into the 21st century.

The Freewheelin’ Bob Dylan (1963) – Easily the most accessible (even listenable) of the protest trio, while two of his biggest songs are here (Blowin’ in the Wind, A Hard Rain’s A-Gonna Fall), it’s the album tracks that make this one a winner, from the gorgeous and tender Girl from the North Country to the “funny because it’s true” Talking World War III Blues, this is the best of Dylan before he went electric.

Desire (1976) – A musical and emotional mess, a lot of varying styles (straight rock, Caribbean, Eastern, etc) result in a lack of cohesiveness that can make Desire a difficult and disjointed listen, but song for song this can be overlooked due to strong writing and a ramshackle, blasé charm that eases a lot of the heavy subject matter, while other tracks are as whimsical and lighthearted as they appear.

The Bootleg Series Volume 8: Tell Tale Signs – Rare and Unreleased 1989-2006 (2008) – Well, the title pretty much says it all, and there are loads of tunes here that once collected make a quite workable double album (much more so than Modern Times). As mentioned before, alternate takes of previously familiar tunes (Mississippi, Most of the Time) are exceptional, showcasing multiple possibilities; while previously unreleased tracks (Red River Shore, Series of Dreams) make one wonder how they sat vaulted so long, with material from the Oh Mercy sessions being especially nice.

Oh Mercy (1989) – After a decade of what was, at its best, good songs mired in 80s overproduction and assumed indifference, Oh Mercy was certainly a return to Dylan-par songwriting and believable performances, if not a full fledged comeback. Daniel Lanois’ production is slightly “telling” of the times (sax solos, ugh…), but he leans things up considerably, pulling a lot of fantastic songs into the forefront to let them stand on their own merit instead of hampering them with studio antics.

John Wesley Harding (1967) – Dylan’s “post motorcycle crash” period (again, my moniker), which I guess ended with Self Portrait, is my favorite. I love the brevity and loose acoustic jangle of these songs, just riffing around and laying things down lickity split. Twelve informal narratives ranging from hilarious to horrifying, JWH shows every side of late 60s Dylan compacted into two to four minute capsules.