Review: Sting, ‘The Bridge’ – A Great Album From An Artist I’d Given Up On

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With Thanksgiving and visiting relatives, the food and drink and all of the box sets I’ve been working through lately (the Beatles, Stones, Dylan) I’m only just now getting around to focusing on Sting’s new LP which has been out a couple of weeks. This is a review I never thought I’d write. This is certainly an artist I’d sort of… written off, I’m sad to say. Defying odds and my jaded expectations, Sting has returned with a pop/rock delight on his new album, The Bridge.

I’m like most people I think. I got into Sting when he was still the singer/songwriter/bass player in the Police. I remember in junior high there were two sides to our Study Hall. One side was for quiet studying which was oddly where you could usually find me. The other half was for a more social experience. You could buy soft drinks and snacks. I never had any cash for that sort of thing. They’d play music over there on the social side. I can remember making a rare appearance on that louder side of Study Hall and hearing “Roxanne” for the first time. I can remember after it played, this dude I didn’t know very well named Chris began singing along in a high pitched falsetto to approximate Sting much like Eddie Murphy did in 48 Hours a few years later. We laughed but we dug the song.

I thought at the time that the Police were a punk band, like the Clash. In retrospect I think they were more faux punks. I didn’t buy their first album Outlandos d’Amour until I was in college. I do remember hearing “Walking On The Moon” and “Message In A Bottle” from Reggatta De Blanc and mistakenly assuming those were also on the first album. It wasn’t until “De Do Do Do, De Da Da Da” (which looks ridiculous typed out) and their breakthrough third album Zenyatta Mondatta that we all took notice of the Police in earnest. They had been out on a world tour and the broad scope of that trip informed a lot of that great album. I always dug the deep track, “Man In A Suitcase,” which was probably a precursor to my life as a traveling salesman. My brother owned that album and I promptly taped it… which was the way I acquired a lot of music in those days.

My buddy Doug saw them on the following tour for Ghost In The Machine, their fourth album. I would have really liked to have seen those guys on that tour but Doug took a chick he’d met at his job in the mall. It was all very Fast Times At Ridgemont High for us in those days, so I can’t fault him. By that time I thought of the Police as more pop/rock than pure rock n roll. That’s not a knock, it just meant that they rocked but with a more pop sensibility. Cheap Trick and Big Star always get lumped into that category and I don’t think it’s a bad thing at all. But because of that slightly “pop” approach I sort of shied away from purchasing Police albums. Masculinity was important in puberty and apparently you had to listen to harder rock and metal to prove that you were “a man.”

It wasn’t until I was in college that I became a life long Police fan and purchased all of their LPs. It was the summer after my very, very difficult freshman year (my fault, mostly) that I heard “Every Breath You Take” on the radio. It was the perfect song. I knew from that first listen, based on some personal experience, that it was most definitely not a love song. A tale of heartbreak and obsession, it’s one of those songs that comes along and hits you so hard you know it’ll stick with you forever. It was a message I was in touch with at the time. I never get tired of that song. My first Police album purchase was Synchronicity which I bought the day after hearing “Every Breath You Take.’ It wasn’t until I got back up to college that fall for sophomore year that I started buying all of their albums while hanging out in record stores with my pal Drew. Synchronicity turned into one of the biggest albums of all time. The Police went from being a well-known, big act to being the biggest act in the world.

Sadly though, that massive success would spell the end of the Police. Sting decided they’d gone as far as they could. A lot of people say he was tired of carrying those other two guys. I’d say drummer Stewart Copeland and guitarist Andy Summers were incredibly talented guys but Sting was “the man” in that band. It would have been hard for the Police to follow up the success of Synchronicity and perhaps Sting deciding to go solo was his way of ducking the pressure of having to top it. Many artists change their music to avoid the intense pressure fame and success bring. At the time we thought Sting’s solo thing was going to be a one-off and he’d come back the Police. Nope.

I, for one, was looking forward to Sting’s first solo album, The Dream Of the Blue Turtles. I always thought if you dug a band, if the main creative force of that band left, it was going to be automatically awesome. When we heard “If You Love Someone, Set Them Free,” the jazz-lite first single, we were beyond horrified, we felt “betrayed.” The communal feeling was “What is this crap?” Sting was apparently unhappy that people misinterpreted “Every Breath You Take” as a love song and “Set Them Free” was the “anecdote for the poison?” I’m quoting something I read back then, sigh. Needless to say, I didn’t invest in Sting’s first solo LP. Songs like “Love Is The Seventh Wave” didn’t help much. Gads, I dislike that song. I will admit the first Sting track that I thought had some potential from that LP was “Fortress Around Your Heart.” Lyrically brilliant, it was a track that resonated with me. I later heard his solo version of the Police song, “Shadows In The Rain” and I love that version. “Woke up in my clothes again this morning, don’t know exactly where I am, I should heed my doctor’s warning… he does the best with me he can” were lyrics that hit perhaps a little too close to home at the time.

After college, my corporate masters thought it was a good idea to exile me to Arkansas. Ft. Smith had terrible radio, all Madonna and Micheal Jackson who to my hard rock sensibility was like battery acid in my ears. I rarely listened to the radio in that town, but one lunch I had to leave the office and go to the dry cleaners. I didn’t have a cassette to pop in so I just let the radio play. The DJ was doing a lunch hour playing whatever music he wanted vs the usual heavily programmed, oft-repeated rotation. I had just pulled into the parking lot outside the One-Hour “Martinizing” place (whatever that is) when I heard the DJ announce he was playing a deep track from Sting’s new LP (Nothing Like The Sun, his second solo album), a cover of Hendrix’s “Little Wing.” While utterly re-imagined with a jazz combo, it hit me hard. I love that song and especially Sting’s vocal. I went out after work that day and purchased the album. Who says I had impulse control back then? It began a long period of me being a big fan of Sting.

I actually really dug the entirety of the album Nothing Like The Sun, which I’d bought on vinyl. It was designed for that new format, CDs, so they had to make it a double-LP with only three songs on each side. I went with the unconventional vinyl as I was certain “CDs” were a fad. I followed Sting to the next LP, The Soul Cages. The title track rocked and I really liked “Why Should I Cry For You.” While I didn’t connect with The Soul Cages the same way I did the previous record, I was still on the Sting bandwagon. His next album was probably his biggest solo record, Ten Summoner’s Tales. Beyond the Chaucer-inspired pretentious title, was eleven great songs. There wasn’t a bad moment on that album. I still play “She’s Too Good For Me” and dedicate it to the Rock Chick.

I even liked his next album Mercury Falling. I saw Sting on that tour and if I had a bone to pick with him, it’s that he doesn’t play the Police material with any conviction. It’s like he’s embarrassed by the most popular part of his career. Sigh. Another track I play for the Rock Chick is from that record, “All Four Seasons,” although I realize I take my life in my own hands when I do that… “That’s my baby, she can be all four seasons in one day.” Brand New Day was another great Sting record but after that the wheels came off of my fandom. Sacred Love was, in a word, awful. I purchased that album, based purely on the momentum of my experience with Sting’s music but quickly had it in the stack headed to the used record store for sale.

After Sacred Love, to a large degree, Sting disappeared as a solo artist for me. He did an album featuring him playing the lute. Yes, the lute. The main character in A Confederacy of Dunces, Ignatius O’Reilly played the lute. He did a chilly Christmas album. He did a Broadway play. He set some of his songs to an orchestral backing. He redid a bunch of Police and solo tracks with perceptible but slight alterations which left me thinking, “Huh?” The only thing he did during an almost 13-year stretch away from contemporary pop music that caught my interest was re-uniting with the Police for a hugely successful tour… which, naturally, he now says he regrets doing. Some people are just never satisfied. He finally returned to pop music in 2016 with 57th & 9th. I hoped it signaled a return to form and was ready to give Sting the benefit of the doubt but oddly, it left me cold. It was a very workman like effort. Well crafted and played but nothing I dug. The second half was very introspective and quiet. I thought, well, that’s it, I’m now permanently done with Sting.

Admittedly, my daughter and her beau recently turned me onto Sting’s collaboration album with reggae star Shaggy and to my surprise I liked it. It’s something I’d never heard before, Sting having… fun? It was a return to Sting’s early reggae-based music and he seems very engaged. I wondered if it was another strange detour or maybe, just maybe it’d spark something interesting from Sting in his solo career. “Waiting For The Break of Day” could have been on this new album and fit seamlessly… Everyone should check out at least that track if not all of 44/876.

I heard Sting had a new album coming out this fall. At this point listening to a Sting album felt like sitting up late at night with a tumbler of bourbon while thumbing through an old high school year book looking at pictures of that pretty girl from Geometry class in my sophomore year. I put on the first single from the new LP, The Bridge, a song called “If It’s Love” and… yes, it’s love! I should hate this song, it features whistling which I despise. I’ll be the first to admit, I consider any whistling in a song to be McCartney-level cheesy and yet this song is so catchy I can look past it. It tells the story of a man who awakes happy and smiling (“a muscle I rarely use,” which I can relate to) who calls his Dr to find out what’s wrong with him and it turns out, he’s in love. It’s such an earworm! It’s the best purely pop song Sting has done in years… I say that and yet there’s whistling! It’s an “Everything She Does Is Magic” meets “Don’t Stand So Close To Me.”

What would the rest of The Bridge hold? Would I be as disappointed as I was with 57th & 9th? The short answer is that this is the best, catchiest LP Sting has done in 20 years. It’s my favorite thing he’s done since Ten Summoner’s Tales. The album starts off with the upbeat, “Rushing Water.” It starts with an insistent drum beat like water on a rock. Sting sings over a plucked electric guitar until the chorus explodes like, well, rushing water from a broken pipe. “The Book Of Numbers” is another solid midtempo rock song complete with Biblical imagery set in a bar. The second half does get mellow, much like 57th & 9th, but in the case of The Bridge, I like the mellow tracks. The LP is laid out like those old Rod Stewart LPs with a “Fast Side” and a “Slow Side.” The highlight on the mellow, back end is “The Bells Of St. Thomas.” A heartbroken man is awakened by church bells to find himself hungover in the bed of a rich woman… in Antwerp no less. To me, it’s one of the most evocative tracks Sting has ever written. 

Other highlights include “Harmony Road” which features a sax solo by none other than Brandford Marsalis who was in an early incarnation of Sting’s solo band and played on Dream Of The Blue Turtles. I thought I was having flashbacks. “For Her Love” is a beautiful love song that has echos of “Shape of My Heart.” There are a lot of moments on this LP like that, that remind you of Sting’s past glories while not reveling in them or feeling like cheap nostalgia. He seems to just be doing what he does well. I like the title track which is only Sting’s voice and a plucked acoustic guitar. “Loving You” is another standout track that could’ve been done just as effectively as a blues song, “if that’s not lovin’ you, then tell me what it is.” “Hills On The Border” is almost like a sea shanty but I dig it. Of the bonus tracks I liked his cover version of Otis Redding’s song “Dock Of The Bay,” but as long term readers know, I love cover songs.

If you’re like me and you’ve given up on Sting, or any artist for that matter, The Bridge is proof that there is always one more great album or song left. If someone’s art has moved you in the past, there’s a good chance that if you keep connected with the artist he will eventually pay off again. This is a real treat of a record and I urge everyone to check it out!

Cheers! And Happy Holidays to all of you!

Review: Robert Plant & Alison Krauss Triumphant Return – ‘Raising The Roof’ – Beautiful Alchemy

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I think I mentioned when I posted about Dave Gahan & the Soulsavers new LP Imposters, that there was a lot of great new music that came out last weekend. Springsteen released an explosive live LP recorded at the No Nukes concert in 1979. And, believe it or not, Sting released a new LP that caught my ear. That’s a sentence I never thought I’d write again. Despite my maniacal focus on Gahan’s new LP, there was another album that caught my ear immediately. The long awaited new collaboration between Robert Plant and Alison Krauss, Raise The Roof. I can’t believe it’s been 14 years since their first album, the monumental Raising Sand.

I can still remember Raising Sand’s release like it was yesterday. Bob Dylan was right, time really is a jet plane. I was really into Robert Plant at the time. Truth be told I always have been and likely always will be into Robert’s music. He had emerged from his collaboration with Jimmy Page (Page Plant) which had yielded a couple of LPs (one of them live) and two tours both of which I was lucky enough to see. The second tour by Page Plant was like being transported back to 1974, but I digress. The first LP he did post Page Plant was 2002’s Dreamland. It was an atmospheric album of blues and classic rock covers. I loved that album. When I saw Plant on that tour I was so enamored that I bought a concert t-shirt with the album cover on it… and it was mustard yellow. I told myself it was gold… it wasn’t gold. I wore that thing for years until the Rock Chick finally nodded, “no.” I remember reading about Dreamland and Plant saying something about breaking in his new backing band by culling through his record collection for great songs for them to play. He must have a pretty cool collection. I can only hope it’s all on vinyl.

While I dug Dreamland, as I usually like albums consisting of all cover songs, I did hope that Plant would return to his solo career full-fledged so to speak, with an album of originals. My patience and hope was rewarded when Plant returned in 2005 with The Mighty Rearranger. What a knock-out that album was. I think Rearranger ranks amongst his best solo stuff. Around late 2006 or early 2007 I remember a brief interview of Plant in Rolling Stone. They asked what was next for him and he said he’d written down a bunch of song titles and given them to the band to come up with music for each one. He’d fill in the lyrics later. He did mention something about being on the way to do a benefit concert for a long passed blues guy (whose name escapes me) put together by T. Bone Burnett. Somewhere along the line, Burnett suggested for the benefit that Plant do a duet with Alison Krauss of an old Lead Belly song. So entranced by their combined vocals, they decided to record an album of duets with T Bone producing.

Having read the press stuff leading up to Raising Sand I was keeping an eye out for the release date. At the time I remember thinking, I’ll probably dig the Plant led songs. I didn’t know much about Krauss but I thought I could “suffer” through songs that featured her. The day it came out, I stopped on my way to work and picked up the CD. I wasn’t buying a ton of vinyl in the early 2000s, alas. When I got home I went immediately to our basement…which is where the stereo was and started playing Raising Sand. Within moments the Rock Chick was in the basement asking me what the great music was. When the album was over, we were both blown away. The Rock Chick looked at me and said, “Wow that was kick ass.” Little did we know it was going to be a world wide sensation. While on the surface it seemed like an odd pairing. Krauss, to my great surprise, is an amazing singer with her roots in bluegrass. Plant is an amazing singer with his roots in well, rootsy music like bluegrass, the blues and folk. Their harmonizing is something akin to sorcery. It’s magic alchemy. T. Bone is the only producer who can help these two produce such an atmospheric, swampy mix of music which is the perfect backdrop for the harmonies. I was lucky enough to see Plant/Krauss in concert on the tour in support of Raising Sand and it was superb. The harmonizing was just as spot on live.

I assumed there would be a follow up and in 2009 it was rumored they were working on one but nothing materialized. I think they did record some stuff but Plant “didn’t hear the magic.” Plant, in my opinion, is one man who doesn’t like expectations and pressure. I think that’s why he’s never reunited with Led Zeppelin for anything more than one-offs. Although Bonham was a close childhood friend of his and that loss can’t be overcome. Plant formed Band of Joy and put out an album by the same name that was similar in spirit. He had Patti Griffin on harmony vocals… but it just wasn’t the same. As Joe Strummer said, and I’m fond of repeating, never underestimate the chemistry of the same people in a room.

A few months ago, now with all of us 14 years down the road, I heard Plant Krauss (along with T. Bone) were finally set to put out a follow up LP, Raise The Roof. With its similar title to the first record, I thought maybe this would merely be Raising Sand 2.0. There are certainly similarities obviously but this is not the 2.0 I thought it might be. They’ve picked some really obscure tracks – at least to me – for the new album. They must have dug back into Plant’s record collection again. They go from 60s era folk stuff to country and blues stuff that was recorded 90 years ago. Some of the artists they cover here I’ve never heard of. There is one original on the album, penned by Plant and T. Bone, “High And Lonesome.” One thing that draws me to a cover song is enjoying the new version but being reminded of the original. So many of these tracks are unknown to me, it almost feels like these are originals.

The sound of this record, to me, differs from Raising Sand as well. There was a swampy murk to their first record that I don’t hear as much of here. They lean on more traditional country rock/folk structures here. Its not a bad change, but feels different, like an expansion from the first record. On the Raising Sand there were a lot of tracks where they both sang and harmonized for the whole tune, co-lead vocalists if you will, but on Raise the Roof on many of the tracks Plant or Krauss takes a more lead vocal and the harmonizing is on the choruses. Subtle differences between albums and I don’t think the slightly altered approach hurts this new record at all. In fact, this is a great album and a great sounding one as well. It is certainly one of our albums of the year, if not the album of the year. It’s amazing how many “all covers” LPs came out this year (Gahan, Chrissie Hynde, and the Black Keys to name a few).

I’ll admit as (World I’ve already hinted at, I love Raise The Roof. It’s about all I’ve listened to since Friday. There isn’t a bad song here. The opening track, “Quattro (World Drifts In)” by an obscure Tex-Mex indie band from Arizona, Calexico, is a great opening track. It’s almost spectral with wonderful harmonies. It builds a real sense of drama and mystery. I may have to check out Calexico. On “The Price of Love” Krauss takes more of the lead vocal and it may be my favorite of her vocals on the LP. There’s a great little guitar solo on the song as well. It’s an Everly Brothers cover and could I say, is there a more perfect duo to cover on a duets LP than the Everly Brothers? Plant comes in vocally right under Krauss, it’s perfect, like Phil and Don. On “Go Your Own Way,” an Anne Briggs (the 60s English folk singer) cover, Plant takes more of lead vocal and it’s wonderful. Silky acoustic guitars and a mandolin as pillows for Plant’s seductive vocal. It may be Plant’s best vocal on an album of standout vocals.

Another stand out is “Searching For My Love” originally done by the Rhythm Aces, a great 50’s rock n rolls style tune, especially the chorus. They do a Lucinda Williams’ track “Can’t Let Go” which I reviewed earlier and it remains one of my absolute favorites here. “You Led Me Wrong” is an old country song by Ola Belle Reed that Plant turns into an almost bluesy thing and features a great violin. I think Krauss should play more violin whenever she can. I love what Krauss does with Alan Toussaint’s “Trouble With My Lover” with Plant on the mischievous harmony vocal. And she was made to sing Merle Haggard’s “Going Where the Lonely Go.” Great high and lonesome pedal steel guitar floating around her vocals…

I love a pair of tracks toward the end of the album where they stretch out their sound a little bit. The lone original, “High And Lonesome” has a rumbling rock n roll vibe. This track would have been right at home on Plant’s last solo LP Carry Fire. It sounds current and at the same time ancient. Plant uses some vocal effects on the chorus while guitars clang around behind him in what sounds like an attempt to expand their sound palate. The last track, “Somebody Was Watching Over Me,” which sounds like an original is a Maria Muldaur track written by Brenda Burns. Muldaur who I’m unfamiliar with was another 60s folky. They turn that song upside down. It sounds like an outtake from Principle of Moments. I love the line, “My bad times are better than my good times used to be…” I can relate… The song sounds like nothing Plant Krauss has done before. Again effects are used for background vocals. “Somebody was watching” gets repeated over and over like a mantra until it’s almost menacing over a fuzzy guitar riff. It certainly points to a direction they could have taken if they wanted to completely break with their original sound… An intriguing detour indeed.

If you were like me and you fell in love with Raising Sand, be ready to have that same feeling all over again. With the success of that album I never thought Plant would agree to do another album with Alison Krauss due to increased expectations around any kind of follow up. I think I can say after hearing this album, he had nothing to worry about. Their beautiful alchemy remains solidly in tact. This is simply put, a great album.

Cheers and Happy (and safe) Thanksgiving this week to all of you in the U.S. especially if you’re traveling. This post came quickly on the heels of my last one but I’ll be celebrating with family, turkey and bourbon this week. I’m reminded that George Carlin once wondered why no one ever had sex on Thanksgiving… he thought maybe it was because all the coats are on the bed. Well, no B&V post gets written during Thanksgiving because… all of the coats are on the bed and the house is full of relatives…gads.

Review: Dave Gahan & Soulsavers, ‘Imposters’ – An Intimate Albeit Mellow Album of All Cover Songs

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There was a virtual smorgasbord of music released yesterday, November 19th, 2021. Enough music to keep your intrepid blogger and bourbon enthusiast busy through Christmas. I may need to buy my own barrel of whiskey to get through the holidays… but that has more to do with relatives than music… While there is plenty to be happy about from yesterday I was set on a course to explore Depeche Mode frontman Dave Gahan and his partners the Soulsavers’ new album Imposter. I haven’t seen this record get a ton of attention, so enter B&V. There will be plenty of time for me to “catch up” and write about those other new LPs.

As long time readers know, it was the Rock Chick who turned me onto Depeche Mode. I have to admit, before meeting her I only knew the song “Personal Jesus” and I’m embarrassed to admit that I only knew that from the black and white video. When that song came out in 1989 I was in exile in Arkansas and only got new music from gads, MTV. That’s probably the only reason I’d heard the song. Depeche Mode’s dark synth rock wasn’t getting a ton of airplay in Northwest Arkansas. You were more likely to hear Micheal Jackson or Madonna on one hand and Foghat or Bad Company on the other. Not that there was anything wrong with Foghat or Bad Co. It was pop or classic rock in Fayetteville, Arkansas with nothing new and current on the rock n roll radio station. Had I stayed there I’d have certainly missed the whole Grunge thing.

When I met the Rock Chick she’d just gotten out of a relationship with a guy who was musically barren. He didn’t go to concerts or own any CDs. When I met someone in the old days I didn’t judge them by what they did or what they stood for, I judged them on their music collection. The first thing I did when a woman invited me to her place was look at her CD rack. When I came along it was like the Rock Chick had this musical awakening. Don’t get me wrong, she was already the Rock Chick, I just sort of helped her re-engage. It was on one of our first dates that I realized I could take her to the record store and we could browse and buy in the same way my old friend Drew and I used to do in college. A record store, with a chick? Oh, yes, sign me up. That first trip to the music store the Rock Chick bought a stack of CDs. She was collecting them in her arms like she’d just escaped from a gulag. They should have charged her by the pound vs the disc. We rocked out on that music purchased over the course of a few hours for years and years.

While she bought a bunch of CDs that ended up helping me reconnect with bands I’d drifted away from – Motley Crue, AC/DC, and Green Day just to name a few – one of the main purchases she made that day was Depeche Mode’s double-disc retrospective greatest hits The Singles 86-98. I had no history with that band. I remember thinking, “Oh, it’s the “Personal Jesus” guy.” I was, as usual, curious about their music but she rarely played that CD. She used to insist you had to be in the “right mood” for Depeche. I assumed that like olives, they were an acquired taste. I tried to put them on during her ritualistic “Saturday House Cleaning” – the Rock Chick is nothing if not organized – and she came sprinting down the stairs to make me change the music.

Eventually, and I might have been alone at the time, I started listening to those two discs and I was blown away. What a great band and I had been utterly unaware of them. Eventually I picked up their best known record Violator. At that point I was hooked. One of the main things that drew me in, besides the songwriting by (mostly) Martin Gore was the towering voice of Dave Gahan. Hypnotic and seductive it was that voice that made me a Depeche fan. Over the years I’d notice their albums started to appear at the house. Over the years the Rock Chick brought home Playing The Angel, Sounds Of the Universe and finally Delta Machine which I really connected with. Delta Machine was the first overt connection I heard in their music to the blues. And, as is well documented in these pages, everything I like leads me to the blues eventually.

It was in 2015 that I first heard a Dave Gahan solo song. I had no idea Gahan had a solo career. My ignorance was not blissful. Anyway, I heard this song “Shine” and I really dug it. There was a gospel vibe on the thing. I found out it was from an album named Angels And Ghosts, that Dave recorded with collaborators the Soulsavers, multi-instrumentalists Ian Glover and Rich Machin. At the time they’d already done an LP together but it was more Gahan grafting his vocals over their already written tracks. Angels And Ghosts was a real triumph and a true collaboration between Gahan and the Soulsavers. I went back and listened to the whole thing this week and thought, I need to listen to this album a lot more than I do. “My Sun” is a classic track.

While it stands out on its own right, I will fully admit that Gahan solo LP made me even more excited for that next Depeche album. In 2017 they put out what can only be described as a late-career masterpiece, Spirit. That album is an absolute classic. Musically and lyrically it was a tour de force. I was lucky enough to see them twice on that tour in both Denver and then in Tulsa. Although admittedly, the Tulsa show was like going to a Goth rave at an LGBTQ bar in the basement of a church. It almost felt subversive to be there… It was over the course of those two concerts that I realized that Dave Gahan was simply one of the most charismatic frontmen in rock n’ roll. The guy doesn’t get the credit he deserves. He was like a hipster preying mantis grooving all over the stage.

It was a few weeks ago that I heard that Dave had teamed up with the Soulsavers again for an album of all covers, Imposter. I’m on record as a fan of “cover albums.” Many bands do covers songs but it’s rare that bands will do an entire LP of covers. Although admittedly, there has been a ton of cover LPs this year: The Black Keys, Chrissie Hynde, and Plant/Krauss to name a few. I read on line that Gahan was describing this as an intimate record where he tells his story using other people’s songs. Cover albums are like getting a two-fer… you get the artist whose singing them but there is a connection in the music to the original artist. I will admit, a covers LP is only as strong as the material chosen.

As has happened several times this year, I will admit up front that I like the last album from Gahan & the Soulsavers more than I do this one. At first listen this album is a bit monochromatic and could be considered slightly somnambulant. It doesn’t have the variety of sounds nor the upbeat moments that drove Angels and Ghosts. At first listen this is a really mellow record. Although the more I listened to it and the more time I spent with this week it did reveal its charms. Its a good record for that late night, sitting up with a tumbler of bourbon while doing some heavy contemplation. And let’s admit it right up front – Dave Gahan could sing the phone book and pull it off.

As with any album of covers songs I’m drawn to the material I’m familiar with. I had no knowledge of the first single, “Metal Heart” but its the most rocking moment you’ll find here and I really liked it. It’s a track by Cat Power who I’ve merely heard of, not heard. But as I explored the track list I did see some familiar tracks. My favorite, as would be expected is the Dylan cover, “Not Dark Yet.” There’s been a lot of great Dylan covers this album, from the aforementioned Chrissie Hynde album to David Bowie. I was familiar with the song “The Dark End of the Street” written by Chips Moman and Dan Penn from the version Gregg Allman did on Searching For Simplicity. I have to admit Gahan does it just as well as Gregg and that is high praise indeed. “A Man Needs A Maid” the Neil Young orchestral epic was a nice surprise. I really like this version. For reasons unclear Gahan chose to do the old Nat King Cole chestnut “Smile.” I despise that song no matter whose at the mic. The album ends on the Elvis track “Always On My Mind” and I admit, I liked it.

I really liked the track “Strange Religion” and somehow guessed it was a Mark Lanegan track. The Soulsavers have worked with him in the past and I just knew immediately that lyrically it had to be him. “Lilac Wine” was a miss for me… as any Eartha Kitt song would be. “I Held My Baby Last Night” an Elmore James blues tune is another great moment here. I like the opening salvo of guitar on that one and Gahan goes into a deep bluesy growl. “Shut Me Down” is another gauzy track that makes my mind drift a bit. It was nice to see a Gene Clark track here, “Where My Love Lies Asleep,” but again following “Shut Me Down” it makes for a pretty mellow back to back listen. PJ Harvey’s “The Desperate Kingdom of Love” sparks a bit of excitement toward the end of the album.

The listening experience for me, was bit of a start/stop experience. There’d be a track I’d really like and then a track that sort of sent my mind a’wandering. The thing that really holds it together is, as you’d expect, Gahan’s voice. This album really makes me want a Depeche album. I want to hear Dave singing Martin Gore tracks, not Nat King Cole. That said, I can’t completely dismiss this record. While I wouldn’t recommend it to anybody but true fans (like myself) there are enough high points that I think everyone should give it a spin or two, especially after the sun goes down.

Cheers! And Happy Thanksgiving folks.

New Song: Scorpions Release “Peacekeeper”- First “Rawking” New Song From The Upcoming LP ‘Rock Believer’

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I don’t know what it is about the Scorpions but I keep losing track of them. I always know they’re out there rocking, or perhaps better said “RAWKING,” but for some reason I never know about it when they release new music. Thankfully I saw on Twitter a little while ago that they’d released a new single entitled “Peacemaker” and intend to release a new album in the spring, Rock Believer. I think the world is a better place when there is new Scorpions’ music out there to turn up to 11.

My history with the Scorpions is almost like a hide and seek game. They’re there, right in front of me on stage or on my turntable and then suddenly I’d lose track of them. I’ve probably mentioned this somewhere but the Scorpions were a part of my first ever concert. A friend of mine had tickets to see Nugent and couldn’t go. This was when Nugent was a guitar-wielding, rock n roll wild man, not his current incarnation as a gun-wielding moron. Nugent was still cool in the late 70s/early 80s. My friend sold me his ticket to “the Nuge” for something like $10. It was a crazy night at Kemper Arena. The opening act came out and they were all kids my age. It was Def Leppard on their first tour in support of On Through The Night. They played “Wasted” and “Rock Brigade.” And yes, we were a wasted rock brigade up in the cheap seats where I was sitting. I remember thinking that I needed to keep an eye on those nutty kids.

It was after Def Leppard… the drummer had a Union Jack diaper on, that lo and behold the Scorpions rushed the stage. I’d never seen a band with that much energy but admittedly, this was my first concert. The only song I recognized, well the only song of theirs I knew was “The Zoo.” I was completely unaware that they’d been around for almost a decade at that point in 1980. I had never heard or even heard of those Micheal Schenker led early records like Virgin Killer, In Trance or gads Taken By Force. I thought they were a brand new band and Animal Magnetism, their then-current LP, was their debut album. I’m embarrassed I hadn’t even heard the classic album Love Drive at that point. Although I have this funny memory of hearing Klaus Meine on an interview show and they asked him about the meaning of the title of Love Drive and in that heavy German accent that makes him sound like a villain in a World War II movie he said, “It’s both about making love while driving in the car but also it’s about that urge we all feel for “love.”” Oh Klaus, that ain’t love you’re talking about…

While I was impressed with the Scorpions enough to go out and buy Animal Magnetism, I wasn’t moved to do any deeper inspection and figure out the back catalog. Let’s face it, on that crazy night in 1980 at Kemper Arena, I was there to see “Ted the Sledge.” It’s hard to believe that within two years the Motor City Madman would have faded so quickly and the Scorpions would explode with the landmark heavy metal LP Blackout. We used to stand on our desk chairs and air guitar to “Dynamite” all night long. I taped my roommate’s copy of that album and played it in my car almost constantly. I remember I still had that cassette in my “cassette briefcase” in my backseat when I was sent into exile in Arkansas… When 1984’s LP Love At First Sting came out, I bought it on the day it was released and pleased that I have the original album cover on that vinyl treasure. Walmart made them change the cover. Prudes.

After college, I again lost track of the Scorpions. Somewhere along the line I picked up Crazy World but that was it for me and the Scorpions for years. I did see them again in concert, this time as headliners, out at the local “shed,” Sandstone Amphitheater. They were even better that time but despite the fact that 15 years had passed, their energy level on stage was exactly the same – full tilt. Other than that show I wasn’t listening to much of the Scorpions. And then… I met the Rock Chick. On one of our first dates we went to the CD store. She bought a stack of CDs that day… and one of them was the two-disc, greatest hits compilation Deadly Sting: The Mercury Years. We poured some red wine and cranked those 2 CDs up loud! It was a revelation. I quietly admonished myself for losing track of those guys. They’ve got so much great music out there. I realize they changed their sound to a more radio-friendly, heavy rock sound vs the hard edged metal of their early years but still they’ve remained really consistent in terms of sound over the years. They haven’t really chased fads as far as I can tell. They’re kind of like AC/DC, they know what they do well so they keep doing it. And the thing they do well is to RAWK.

I actually picked up their 2010 album Sting In The Tail and it was a fantastic hard rock, Scorpions’ album. It sounded like not a day had passed since their heyday. It’s one of those LPs that B&V was founded to talk about. When I heard they had a new song out, I rushed to Spotify. It was then that I realized that, true to form, I had lost track of them again and missed that they had released an album in 2015, Return To Forever. That’ll be another LP I’ll have to put in the stack as I prep my review of the upcoming album this spring, Rock Believer. The fact that I didn’t know about that record tells me that the Scorpions need to fire their PR person. Either that or they’re purposely eluding me…

From the opening riff of “Peacemaker” I knew I was listening to a classic Scorpions hard rock track. Rudolf Schenker and Mathias Jabs guitars weave together for a heavy yet nimble riff to open this thing. When Klaus Meine’s vocals kick in it’s race to the finish line time. The guitars and drums start rolling faster. And by the way, I think the coolest name in rock may be Mathias Jabs. He’s like 7 feet tall too…or at least that’s what it looked like from the cheap seats. The Scorps can play a heavy riff and then jump to intensely melodic guitar faster than anyone this side of Metallica. Rudolf breaks off a tasty guitar solo in the middle. Pinch me, am I dreaming, is it 1985? I’m really impressed with the lyrics to “Peacemaker.” This isn’t their first stab at a socio-political statement in their lyrics. I can still remember the track “Crossfire” from Love At First Sting that also took up the cry for peace. I was impressed that in between calls to blackout or to be bad boys running wild they had the presence of mind to speak about peace. I think this opening lyric says it all:

“We could turn another page
Keep the lions in the cage
The battlefield is bleeding red
Land of glory, monster dead
Into a world without frontiers
With no hate, regret or fears
We’ll burn to ashes in a flash
If we don’t change, we’re gonna crash”

Here’s a link to “Peacekeeper”:

The only bad news here is we’re going to have to wait until February 2022 for Rock Believer. If Sting In The Tail and “Peacemaker” are any indications, this may be another great, late-period Scorpions LP. I know I’ll be looking out for it since it’s clear after all these years… the Scorps are purposely eluding my attention.

Cheers!

Review: Apple TV’s ‘The Velvet Underground – A Todd Haynes Documentary’ – An Enjoyable, Stylized Look At The Iconic Band

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It was just one of those exhausting weeks. After another arduous day I needed a distraction. Much to the Rock Chick’s consternation, I filled a tumbler with bourbon, flopped down on the couch and pulled up Apple TV. As I’d been threatening to do for a few weeks now, I pulled up the new documentary by Todd Haynes about the Velvet Underground. The Rock Chick was on her feet and across the floor to the stairs faster than an Olympic sprinter. I hadn’t seen her clear a room that quickly since the days I was really into watching Kojak reruns. Say what you want but there hasn’t been a decent cop show on TV since they cancelled Kojak. I had hoped the Rock Chick would hang around and watch the documentary with me but I can fully understand her reaction. I think a lot of people have the urge to flee when they hear the Velvet Underground is coming up.

I know in the early days of my rock n roll obsession I was afraid of the Velvet Underground. The Velvet Underground was Lou Reed, vocals/guitar; John Cale bass/keyboards; Moe Tucker, drums; and Sterling Morrison, lead guitar. When I was in college I used to love to get those Rolling Stone magazines counting down the top 500 LPs. The Velvet Underground’s iconic first LP, produced by Andy Warhol no less and featuring German-born singer Nico, The Velvet Underground & Nico was not only always on the list but it was usually near the top. I had always been under the same mistaken impression I had about punk rock back then, that it was all just avant-garde noise. There were a few bands I was “afraid” of in those days. I figured if you put the Velvets on the stereo the needle would break, your ears would bleed, neighborhood dogs would howl, you might grow hair on your palms, all sorts of bad things would result. I’m still not sure how I garnered that impression from merely reading about the Velvet Underground. I’d never heard any of their music. It wasn’t played on the radio. No one I knew owned any of their LPs. It was Brian Eno who famously said, “The Velvet Underground’s first LP only sold 10,000 copies, but everyone who bought it formed a band.” That might actually be true. So many musicians cite the VU as an influence from David Bowie to Michael Stipe of R.E.M. to Jonathan Richman of the Modern Lovers (who was pals with the band and is featured in the film).

In the mid-80s I started getting into Lou Reed. You typically get into a band in a few different ways. Either a friend turns you on to an iconic older recording or you would hear something on the radio that was then current and it would catch your ear. I know it’s a risk to my credibility when I tell you my first Lou Reed LP was the then-current album, New Sensations. That album might be the most accessible album Reed ever put out. Even then I was just dabbling in Lou’s catalog. I picked up Transformer, the David Bowie produced LP that is probably Reed’s best known work. That’s the album with “Walk On The Wild Side” on it. Right out of college when I went into my exile in Arkansas I heard “Dirty Boulevard” on MTV… there was really no radio in Ft. Smith. I loved that dark track. “It’s hard to run when a coat hanger beats you on the thighs,” is a quote I still use today when referring to my job. I immediately went to the record store and purchased New York which had just come out and I loved that record. I was spending so much time in my car in those days I bought it on cassette which I now regret. I wore that thing out driving from Ft. Smith to Shreveport or Dallas or back to KC… anywhere but Arkansas. That led me to dive deeper into Reed’s catalog. Although admittedly, I still shied away from the Velvet Underground.

It wasn’t until the late 90s that I decided to stick my toe in the Velvet Underground pond. I had dug out that Rolling Stone magazine from the 80s with the top 500 albums ranked and had decided I was going to buy all of them. Crazy, yes I know. It was a great time of musical expansion for me. My friends had all settled down and were having children. I was just hanging out listening to music… which if I think about it is what I’m still doing. Thank God I married the Rock Chick. Anyway, as part of my push to buy all 500 of these records, I went out and bought the Velvet’s debut LP with Nico and I was pleasantly surprised. It wasn’t all just noise. Yes, John Cale brought a kind of drone thing to the band but Lou Reed was a fabulous songwriter. Nico’s vocals were interesting on the few tracks she sang. The thing that grabbed me about them was the lyrics. Their debut came out in 1967, “the Summer of Love.” While everyone was in tie-dye and bright colors singing about love being all you need, the Velvets were wearing black and singing about heroin and S&M. They were nihilistic and dark. What’s not to love there. They were a real counterpoint to the hippy thing.

The day I bought The Velvet Underground & Nico I had listened to it once when a buddy of mine called to go out and get a beer. He and I went bar hopping. This guy was really into smoking pot, something I’ve never enjoyed. He had some hashish. He kept telling me I’d enjoy it as “it’s a different kind of high.” That is always the pitch with the pot guys. I don’t like it, it makes me anxious and I haven’t done it in years. But there’s always a pot guy telling me to try edibles or hash or something because it’s a different high. On the night in question, I must have been drunk, because I believed my friend’s claims about the magic hash. I vaguely remember taking a hit just as we pulled up in front of this bar, O’Dowds. It was a block from my apartment. I stepped out of the car and felt “the fear” wash over me with the hash, smiled at my friend and promptly walked home without him, leaving him standing on the curb. There is no such thing as a different high… it’s all one anxious, paranoid, miserable experience for me. But hey, I don’t judge, smoke ’em if you got ’em.

I got home and to calm myself, I decided to put on my new LP purchase, the Velvet Underground. I was thinking, yes, music, that’s the ticket… that’ll bring me back to reality. I’ll drink some water and lay down. I put the album on and was wandering around my apartment in the dark. Suddenly I hear Lou Reed in the darkness, he’s waiting for the man… his voice terrified me. Rather than take the album off I just sort of, hid under the bed until it was over. In retrospect, maybe I should have put on some Hendrix. While the VU terrified me that night, I can assure you, I haven’t been afraid of their music since. I quickly bought the rest of their catalog. Their second album, White Light/White Heat is actually the avant-garde noise I had feared but I understood them and it didn’t scare me anymore. Their third LP, The Velvet Underground which features the great songs “Pale Blue Eyes” and “Jesus” is probably the most pop-oriented thing they’ve ever done. If you’re a novice fan that might be the place to start. That’s the album where John Cale, who was the most aggressively experimental quit and Doug Yule joined. Yule could sing but he was also a more traditional bass player. Their final LP, Loaded is also a masterwork, despite Reed quitting during the process. Don’t be afraid!

I was hoping for some in-depth look at the Velvet Underground. There’s a lot of mythology around the band. Todd Haynes documentary is a very stylized look at the band. He does go in depth into the background of the band but it does get a little lost in the split-screen, chaotic manner it’s presented. He starts by profiling Lou Reed and then John Cale. He has a number of friends and family of the band (Sterling and Lou are gone) who talk about their experience with the band. It was great to see Moe Tucker interviewed. John Cale is prominently featured, as he should be. Jackson Browne pops up, and while he’s the last guy you’d associate with the VUs, he was friends with Nico and possibly her lover. That Jackson… he got around. It’s a thorough look at the VU but Haynes way of presenting it in this faux Warholian way gets in the way of the story for me. The film starts with, yes, a split screen and on one side is a close up of Lou Reed’s young face… that was all it took to send the Rock Chick running from the room.

I was also a little disappointed there wasn’t more, well, music in this thing. You’d get snippets of songs but nothing substantive. There seems to always be music playing but its not in the forefront as much as I’d have liked. I would have liked Haynes to let us see the Velvets on stage a bit more. Let us hear them playing live. Again, there are snippets of that in the film but it jumps around quite a bit. I do like the retelling of the story of when Reed fired Warhol as the band’s manager. Warhol had discovered them and put them in his multi-media Plastic Explosion Inevitable show. They’d play and he’d project a film onto the band. He produced their first album and pushed Nico into the band. The first LP was a commercial dud and Reed got pissy and fired Andy without consulting the band. Warhol was so angry, and he apparently rarely got angry, he called Lou “a rat.” It was the worst thing he could think of.

The documentary goes on to chronicle Cale’s departure and Yule’s entry into the band. Eventually the lack of commercial success killed the VU. Reed left, everybody else quit but Yule. The moment Reed left, for me, is the end of the Velvet Underground. I get why Cale quit. He wanted to push the band further into it’s experimental sound and Reed wanted the band to be more accessible and well, sell a few more albums. Those conflicting views on the direction of the band caused that split. Those two did reunite for a tribute LP to their mentor Andy Warhol upon his passing, Songs For Drella which I also highly recommend.

I enjoyed this documentary but it’s really only for fans. Clearly I’m ambivalent about this doc. I liked it but I don’t feel strongly enough to recommend it to everybody. This is a great place to perhaps start your journey into the VUs. It’s a very stylistic, pretty movie to watch. I’m not sure this will turn anybody onto their music though. If you’re interested and you want to watch this doc, I will warn you… beware of family members sprinting from the room. It’s too bad… this is a band that deserves a wider audience. I know their fame has grown over the years but this is a truly under appreciated band.

B&V Playlist: Songs About Sleeping, A “Celebration” Of Insomnia… For My Fellow Insomniacs – If We Can’t Sleep, Let’s Rock

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“To sleep, perchance to dream…” – Hamlet

I was on the road for work this week. That used to be a weekly experience in my chosen profession as a traveling salesman, but now it just feels weird. Everywhere you go there are different rules and protocols around masks and safety which leaves me feeling out of step with the locals. There are certainly more lax attitudes toward masks the farther below the Mason-Dixon line you travel. With all the work travel I’ve done in my career – and it’s a lot… I feel like I’ve spent half my adult life waiting around in airports trying to catch an earlier flight – you’d think I’d be used to staying in hotels. But as I was painfully reminded this week in Louisville (bourbon capitol of the world), I can’t sleep in hotel rooms. I don’t know if it’s the strange bed and surroundings that throw me off or if maybe flying does something to my inner ear that makes sleeping impossible on the road. I guess I shouldn’t be surprised that I can’t sleep when I travel, Lord knows I don’t sleep much better when I’m home.

I’ve always had a precarious relationship with sleep. I’ve had trouble turning my mind off and getting to sleep since I was a kid. Any more I can get myself to sleep but if I awake in the night, and I often do, I really struggle to get back to blissful sleep. They say you should get up and go read a book or something if you’re awake more than thirty minutes but in this tiny rental that I call the van down by the river where we live, I can’t make a move without waking the Rock Chick. That only compounds the problem: I’m up which is a drag but if I wake her, now I’m dealing with an angry, awakened spouse. As much as I hated it when she used to wake me up at 5:30am when she’d get up for work – she was raised on a farm… country people just get up early – her anger is doubled when I get out of bed at 3am and “walk the perimeter” as she describes my midnight wanderings. It doesn’t help that the cat sees me get up and thinks it’s time to eat and goes off like a tornado siren. It’s like he’s thinking, “Hey, we’re all up lets eat!” I had to negotiate with her early in our marriage to let me sleep until 9 on Saturdays and Sundays… they were my “sleep catch up days.”

My parents are partially to blame for my idiosyncrasies around sleeping. We moved when I was in fifth grade. I hated the elementary school I was attending but transferring to a new school seemed like an infinitely worse option. Let’s just say I was adverse to change. We changed my stepdaughter’s school a number of times when she was growing up and she adapted wonderfully with nary a complaint. What we didn’t realize was that we were just expanding her “criminal” network. She knew all the party kids in every school in town. It’s amazing what an upstanding citizen she’s become now… but I’m off track. When my parents moved us I reacted with the angry melodrama of a teenage girl… and I was an eleven year old boy. All of my bitching must have gotten to my parents because my bedroom was the last one to get any furniture. I had a bed and all my clothes were in boxes. In a fit of over-the-top complaining, I accidentally tore the rolling blinds off the window. I bent the metal clasp that held the damn thing and we couldn’t fix it. The window faced east. When the sun came up in the morning it felt like it was rising in my bedroom. After two days of being awakened at sunrise, I went to the linen closet and got a spare feather pillow that night and wrappedit tightly around my head. That provided darkness and silence. It was my “head fort.” Sadly, I got used to it and have had to sleep with a pillow on my head ever since. Try to explain that when you’re an adult and… entertaining… a young lady friend. “Yeah, I’m a freak, I sleep with a pillow on my head.” I also folded my hands on my chest Lilly Munster style which only sparked rumors that I might be a vampire.

When I reached college the people I lived with enjoyed messing with the kid with the pillow on his head. I didn’t sleep at night so I’d often sneak off and nap. My roommates would vie with each other on who got to wake me up. If I was in a really deep sleep and you shook me awake or called my name it would typically result in my screaming and throwing the pillow. It’s like I was terrified about waking up. I once famously exclaimed, while being awakened, “Sleep is hell.” With all of these people hazing me when I was asleep, it’s a wonder that I was able to nod off at all. Drinking didn’t even help. It would help you get to sleep but once your body burns off the alcohol the sugar wakes you up and I mean WAKES you up. There’s nothing like being slightly hungover and wired at 3am sitting on the edge of the bed and re-litigating every bad decision you’ve ever made. I guess I would amend my statement from college to “Waking up is hell.”

Today it’s not much easier to sleep. Uncertainties in the political landscape, the pandemic still hanging on, the Chiefs playing like shit and work being more stressful than ever all combine to keep me awake for days. I literally can’t let my mind wander too far in any direction or I’m up pacing the floor until the cat emits his visceral “meow” and then the Rock Chick is yelling, “What the fuck are you doing,” and I’ve got a full scale insomniac disaster on my hands. People, the struggles are real. I can’t help but remember when I was a kid and it was bed time how I’d stall and stall. My parents would have to battle with me to go to bed. I’d beg to watch the news so I could see the sports… then it was Carson’s monologue… Finally my parents just put an old black-and-white portable TV in my room and hoped I’d eventually fall asleep. Anything to get me out of the living room and upstairs. Now, I can’t wait to lay down. From there I just have to hope my mind cooperates and I can drift off. I often do the B&V version of counting sheep – I name my albums, alphabetically by artist… I start with AC/DC’s Back In Black and if I make it all the way to Cream I know I’m probably not gonna go to sleep.

I was laying awake in a Louisville Hilton this week worrying about something or other and so I got up and fished out my iTouch from the computer bag. I was shuffling through some music. I started with some recent stuff, Mellencamp’s new song “Wasted Days,” and Bowie’s covers songs (“Trying To Get To Heaven”) but then started randomly selecting stuff. I heard the Beatles “I’m Only Sleeping,” and then “I’m So Tired.” I realized I might be onto something. If I can’t sleep I might as well rock and roll. I started stringing tracks together on the theme of sleep and waking up and pretty soon I had 50 songs. I realize that sleep can often be a metaphor for death so I ended up excluding the great blues rock track “Sleeping In the Ground” from Blind Faith. If there are any other great tunes on this subject, put them in the “comments” section and I’ll add them to the Spotify playlist. Here are my picks:

  1. The Beatles, “I’m Only Sleeping” – The track that gave me the idea… I’ve been listening to a lot of Beatles lately
  2. Billy Joel, “Sleeping With The Television On” – I personally can’t sleep with any light or noise in the room so no TV for me. It’s hard to watch TV with a pillow on your head. From his great punk-influenced record Glass Houses.
  3. Audioslave, “Wide Awake” – Great rock song, “I found you guilty of the crime of sleeping when you should have been wide awake.” Rest assured Audioslave… I’m always wide awake.
  4. Lindsey Buckingham and Christine McVie, “Sleeping Around the Corner” – From their great self-titled LP, there’s also a Lindsey solo version out there.
  5. Smashing Pumpkins, “In The Arms of Sleep” – Deep cut from their magnum opus Melon Collie & The Infinite Sadness.
  6. R.E.M., “Daysleeper” – Oh how I miss napping. The Rock Chick frowns on the practice… marriage is a compromise. Y’know, Elvis was a “daysleeper.”
  7. The Beatles, “I’m So Tired” – Indeed I am…
  8. The Cure, “Lullaby” – A song about a man being eaten by a spider. Don’t even get me started on my dreams…
  9. The Rolling Stones, “Who’s Been Sleeping Here?” – I don’t think the person this is addressed to is doing much sleeping but I do think they’re having more fun than I am.
  10. Starcrawler, “Born Asleep” – Great song from a great new-ish band.
  11. U2, “Sleep Like A Baby Tonight” – People were mad about Songs of Innocence but there’s some good stuff on it.
  12. Jack White, “I Guess I Should Go To Sleep” – I love Jack White. Check out his new tune “Taking Me Back.”
  13. Smithereens, “Behind The Wall of Sleep” – I’ve only recently discovered the Smithereens. What a great rock band.
  14. Graham Nash, “Sleep Song” – From his first solo album.
  15. The Cult, “Wake Up Time For Freedom” – A very relevant call to arms in today’s troubled, divided times.
  16. Eddie Money, “We Should Be Sleeping” – A barrel-house rocker. I love the Money Man.
  17. The Pretenders, “I Go To Sleep” – From their great 2nd LP.
  18. Cream, “Sleepy, Sleepy Time” – So many rock bands have explored this topic.
  19. Tom Petty & The Heartbreakers, “I’m Tired Joey Boy” – A live cover of a Van Morrison song. I just like this version better.
  20. Pearl Jam, “Sleeping By Myself” – Also done solo by Vedder on a ukulele.
  21. Metallica, “Until It Sleeps” – My all time favorite Metallica song. I can’t explain it… this track gets me pumped up which perhaps means I shouldn’t be listening to it while trying to sleep.
  22. Norah Jones, “Wake Me Up” – That voice… I’d pay to have her come sit by my bed and sing me to sleep. Only B&V would put Norah Jones and Metallica on the same playlist. Open your minds, folks.
  23. Robert Plant, “Your Ma Said You Cried In Your Sleep Last Night” – I love this bizarre deep track.
  24. Beastie Boys, “No Sleep Till Brooklyn” – Iconic rap rock.
  25. John Mellencamp, “Warmer Place To Sleep” – I’ve always loved this funky rocker.
  26. The Modern Lovers, “I Wanna Sleep In Your Arms” – I love these weird bastards.
  27. Fiona Apple, “Sleep To Dream” – I’ve been a fan of hers since the beginning. This track is from her debut.
  28. Jack White, “Weep Themselves To Sleep” – I can’t wait for his next solo album.
  29. Warren Zevon, “I’ll Sleep When I’m Dead” – There’s so much essential Zevon out there.
  30. The Kinks, “Sleepwalker” – I feel like the Kinks don’t get enough attention on B&V. I need to work on that.
  31. Jimmy Page & the Black Crowes, “Woke Up This Morning” – Page & the Crowes doing a live cover of an old blues track.
  32. Nirvana, “Where Did You Sleep Last Night” – I think Cobain was secretly a blues fan.
  33. Bob Marley & The Wailers, “Wake Up and Live” – Wise advice from Bob.
  34. Leonard Cohen, “Lullaby” – I love late period Cohen. The voice is gravelly but his last few records are the type that B&V was founded to extol.
  35. Peter Wolf, “Sleepless” – Title track from his best solo LP.
  36. John Lennon, “How Do You Sleep?” – His angry song aimed at McCartney. This is just such a hateful track. But if I were to answer John, it’d be, “not very well.”
  37. Paul Simon, “Insomniac’s Lullaby” – This could have been the title of this playlist.
  38. Jackson Browne, “Sleeps Dark And Silent Gate” – This one is clearly a metaphor for death… in this case I believe written for his late wife after she committed suicide. It’s too pretty a song to exclude.
  39. Tom Petty, “Wake Up Time” – From his masterpiece Wildflowers.
  40. Billy Idol, “Endless Sleep” – Another great deep track.
  41. R.E.M., “I Don’t Sleep I Dream” – I don’t do either, really.
  42. The Romantics, “Talking In Your Sleep” – I sometimes wake up screaming… No talking, literally screaming. Sleep is hell.
  43. Billy Joel, “Lullabye (Goodnight My Angel)” – A lovely track written for his daughter.
  44. The Wallflowers, “Sleepwalker” – I always thought Jakob Dylan’s group was a solid rock band.
  45. David Bowie, “Let Me Sleep Beside You” – From the aborted Toy album which will finally see release this year.
  46. Ozzy Osbourne, “So Tired” – Produced by Jeff Lynne of ELO fame. Truly strange bedfellows.
  47. Eddie Vedder, “Sleepless Nights” – From the aforementioned ukulele based solo album.
  48. Tom Waits, “Midnight Lullaby” – From his brilliant debut album.
  49. Queen, “Sleeping On The Sidewalk” – This reminds me of a funny story about my brother in college, but those records are sealed.
  50. The Rolling Stones, “Sleep Tonight” – A perfect place to end this list… A Keith song and a ballad no less.

There ya go folks! Again, if I missed any, put them in the comments section and I’ll add them to the Spotify playlist. I like to think of these playlists as “ours” vs “mine.” If you’re an insomniac like me, here’s hoping that you’ll fall asleep soon. If not, hopefully these tracks will entertain you while the rest of the world is sleeping.

Cheers!

Review: The Rolling Stones ‘Tattoo You – Super Deluxe’ – Revisiting The Landmark Album

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Oh how I love it when we get into the good stuff!

For those of us who were too young and missed the Stones’ late 60s heyday the album Tattoo You in 1981 is about as iconic a Stones disc as you can find. Hell, I was young enough I even missed the Stones in their druggy, decadent 70s and believe me, I’d have settled for that. As I have often confessed, the Rolling Stones aka “The Worlds Greatest Rock N Roll Band” are my alpha and omega when it comes to rock music. It’s where it all starts and ends for me. Actually in my case, they actually are where it started for me. They were the band that caused my entire rock n roll obsession. I remember it like it was yesterday. I was relegated to the back seat of my mother’s Oldsmobile 88…plush velvet seats in the Olds… Ever the “even-Steven” of parents, my sainted mother made my brother and I, ever the quarreling siblings, take turns sitting in the front seat. My brother was upfront, “riding shotgun” as the saying goes, and as was his habit he immediately turned on the radio and flipped to the local rock n roll station, KY102. At this stage in the game, I was not into music whatsoever. The only thing I’d ever turned on the radio for was to listen to a Royals game. Oddly these days I don’t even follow baseball… I was the only person in Kansas City who didn’t watch the Royals win the World Series a few years back, but I’m getting off topic here.

My brother flips on KY/102 and I hear this funky music come blaring out of the speakers. The guy is singing something about “we’re gonna to come around twelve, with some Puerto Rican Girls who are just dyin’ to meet you, we’re gonna bring a case of wine… lets go mess around like we used too.” Well that sounds like fun! I don’t know any Puerto Rican girls… a whole case of wine? I thought this was all fascinating and hysterical at the same time. But it was the music that hit me in the solar plexus and then moved it’s way into my groin. I was new to being a teenager, but as I recall most things that hit me had a way of moving down to my groin… I remember leaning forward into the front seat and asking my brother, “What is THIS?” He replied in his laconic way, “It’s the Stones… I think it’s called “Miss You”” I begged my parents for a stereo for Christmas. My brother had one… it was time to up the rock n roll arms race in our adjoining rooms. Admittedly however, looking back, I realize “Miss You” was pretty much a disco tune. Strangely I seem to remember kind of enjoying Rod Stewart’s “Da Ya Think I’m Sexy,” his disco “sell out” single… Gads, am I secretly a disco fan?

Later I heard “Beast of Burden” and that was it… I knew I had to buy my first album. I trudged down to the record store and with my Christmas money I bought 1978’s Some Girls, which at the time was the Stones’ latest album. I also picked up Steve Martin’s comedy LP, A Wild And Crazy Guy launching my second obsession, comedians. I wore Some Girls out. I eventually took a blank cassette into what I considered the real inner sanctum of rock n roll in our house, my brother’s room, and taped his copy of Hot Rocks. Those two albums got me through junior high school. I’d play one or the other every morning before going to catch the death wagon er I mean the bus to school. I hated school and the Stones always… I don’t know… cheered me up. I eventually started buying other LPs, Van Halen’s debut, and ZZ Top’s Deguello but I always came back to the Stones…

I was visiting my grandparents one summer a few years later. I hounded her to let me take her transistor radio that she and grandpa used to listen to, well, the Royals games on, to bed with me. The night time DJ, when the clock hit midnight announced he was playing the new Stones album Emotional Rescue in its entirety. The Stones? Have a new album? It hadn’t dawned on me bands could keep putting out new music, I was still trying to catch up on all their old music. On Emotional Rescue I didn’t really have the experience of hearing a first single, I heard it all at once. As soon as I got home and had enough money from mowing lawns I raced to the mall in my dad’s AMC Hornet (no power steering, 3-on the tree gear shift) and picked it up. To this day I’m not sure what the first single was… for me Emotional Rescue was an immersive LP experience.

It was the summer, August I think, before my senior year in high school a few years later when the KY102 DJ announced he was going to play “the new Stones’ song.” Once again I was taken by surprise… I didn’t know the Stones had recorded a new album. I was so unaware as a teenager. Anyway, they played “Start Me Up.” I have to admit, all these 40 years later, it kind of left me cold when I first heard it. For the first time I didn’t rush down and buy a Stones’ LP upon its release. True, my musical tastes had spread out – I was into Zeppelin and Sabbath but also the Who and was dabbling in the Beatles and Springsteen. I’m not sure why I felt that way, I love the song now, despite the Rock Chick insisting it’s overplayed. It wasn’t until I heard “Hang Fire” that I thought, well, I need to buy this thing. And I think “Hang Fire” was the third single… I really took my time on this one. I’d also heard everybody in my class raving about “this new Stones album” and couldn’t help but think, “Hey, I’m the Stones guy…I have been for years… I’ll be the judge of this.” 

Well, I loved the album. It didn’t have any country stuff like “Far Away Eyes” or reggae like “Send Her To Me” on the previous two albums, it was pretty much straight-up rock n roll. What we didn’t know back then was that the Stones, specifically Mick Jagger, had cobbled this thing together from “leftovers” from sessions dating back as far as 1973’s Goats Head Soup. There were a couple of tracks co-written by Mick Taylor their erstwhile lead guitarist… he had to sue for royalties. The Stones had planned to tour in 1981-82 and they wanted to do so behind a new album. Keith had kicked heroin and was starting to reassert himself in the Stones. Mick was used to sitting in the driver’s seat, he’d been driving the thing for almost a decade and resented the affront to his authority. Since they weren’t getting along, they couldn’t pull together a new album. It’s a shame my sainted mother wasn’t on the payroll to make sure things were kept even-Steven between the Glimmer Twins. Mick went back into the studio and worked with producer Chris Kimsey to overdub new vocals on old demos and outtakes. “Tops” and “Waiting On A Friend” dated from the aforementioned Goats Head Soup sessions. “Slave” and “Worried About You” dated from the Black And Blue sessions. “Black Limousine,” “Hang Fire” and “Start Me Up” were from Some Girls. “Start Me Up” actually started as a reggae track entitled “Never Stop” that’s been widely bootlegged and that I’ve never heard. All of the rest of the tracks were from the Emotional Rescue sessions.

For me, and for everyone really, “Start Me Up” is one of the Stones’ most iconic songs. But there were so many other great tracks on this album – cobbled together or not. They divided the album between a fast side (side 1) and a slow side (side 2). While critics weren’t crazy about most of the ballads on side 2, believe it or not, there are a cult of people who love Tattoo You Side 2. From the fast side, I love “Black Limousines” a bluesy rocker that ranks among the Stones best deep tracks. I love “Hang Fire” and “Slave.” “Neighbours” was a great rock song. Keith’s vocal outing, “Little T&A” is a wonderfully vulgar rocker. On the slow side, the standout track is obviously “Waiting On A Friend,” with its iconic video. The original version has a Mick Taylor guitar solo in place of the Sonny Rollins sax solo. I remember critics hailing it as a return to “classic” Stones form… of course it was, it was recorded during their classic period. “Worried About You” is another great song and I loved seeing it played live a few years back.

The Stones have revisited Tattoo You on this, it’s 40th anniversary. Let me just say, wow, it’s been 40 years? Time is a jet plane. True to the “leftovers” theme of the original LP, Mick and Ronnie Wood went into Wood’s home studio and overdubbed some new vocals and guitar on some leftovers from the leftovers? They’re from all the same sessions where the original tracks came from and I’ll denote those in parentheses after the titles. Sadly, there’s no full on reggae “Never Stop” or the original guitar driven “Waiting On A Friend” on the new Deluxe version of the LP. Supposedly there’s a 10-minute version of “Slave” out there and it’s not here either. “Living In The Heart Of Love” (It’s Only Rock N Roll) is a spirited, classic Stones rocker. “Fiji Jim” (Some Girls) is another rocker with kind of a rockabilly vibe to me. I was surprised there are three covers here. “Troubles A’ Comin'” (Emotional Rescue) was made famous by the Chi-Lites. It’s actually one of my favorite songs here. I love the guitar on that one. Their take on blues legend Jimmy Reed’s “Shame, Shame, Shame” (Some Girls) is superb. The Stones and the blues just go together. I love Mick’s harmonica on that one… I wonder if that’s newly overdubbed or on the original… either way Mick is one of the greatest blues harmonica players to ever walk the earth.

The most iconic track here – and the only one I’d ever heard on a bootleg – is the Stones covering a song written by Mentor Williams and made famous by Dobie Gray, “Drift Away” (It’s Only Rock N Roll). I love the Stones version of this song… I can’t fathom why it’s just now being released. I know Rod released a version around the same time, maybe they didn’t want to compete. There is myth around the Stones’ version of “Drift Away.” Supposedly, Keith used to like to shoot up and “drift away” while listening to this song. Or I’ve also heard that the Stones would play this song while he was doing so. Either way, it’s a great song.

“It’s A Lie” is from the Some Girls sessions and this rocker would have fit nicely on that album. It really sounds like it comes from that era of the Stones. “Come To The Ball” (Goats Head Soup) is a manic rocker. “Fast Talking Slow Walking” (Goats Head Soup) is the lone ballad here and its a classic. There is an early “reggae-ish” version of “Start Me Up” and I like it. I’ve always wanted to hear the reggae version of that song and this version gives me a taste of that. I really dig all of these “Lost & Found” tracks. Anything we can get from the Stones’ vault I tend to be thankful for. I know there is a ton of material they could have also included, much like the recent Beatles release Let It Be Super Deluxe. I can’t quibble about what’s not included, I just enjoy what is. I would have liked a Keith song here but again, its a small complaint. I’d advise everybody to get the Deluxe version of Tattoo You especially if you don’t own the original LP, which is something everyone should.

Now, if you’re a super fan, the Super Deluxe set has a previously unreleased concert from Wembley (London) in 1982. The Stones on that tour played virtually the same set every night. So if you own, say, the show from the Hampton Colesium, like I do, it’s basically the same show. The Wembley show is far superior to the weak live album they released after the tour, Still Life. Critics of that tour will tell you it wasn’t the Stones at their “best,” whatever that means. For those of us of a certain age who saw the Stones for the first time on that tour, it’s iconic. Personally I saw them three times on the tour, twice in Houston and one of the KC dates where they had Mick Taylor join them as a guest guitarist. I get chills when I hear Keith’s wobbling guitar intro to “Under My Thumb.” That giant, brightly colored stage, Mick running around in a football uniform sans shoulder pads with only Keith and Ronnie singing back up, that stuff is iconic. I love that setlist as they played a ton off of their three previous LPs – Some Girls, Emotional Rescue and the then current Tattoo You. The Stones would never play that much contemporary stuff again.

My recommendation for this one is certainly buy the Deluxe package… and if you’re of a certain age and don’t have a decent live version of the 81-82 tour, splurge for the Super Deluxe. As for me, I’ll still just be out here on the front stoop, cuz, “I’m not waiting on lady, I’m just waiting on a friend…” Maybe Mick will come along and we’ll head to bar…

Cheers to all of you waiting on friends out there! Be safe.

New Song! Jack White Returns Solo With The Guitar Bonanza “Taking Me Back” b/w “Taking Me Back (Gently)” – Our Thoughts

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There’s a commercial I’m fond of quoting where this guy says, in a folksy drawl no less, “I wish I could tell ya how I feel about a morning like this.” I usually like to repeat it when the Rock Chick has roused me earlier than I care to be awakened and so its usually dripping with sarcasm when it comes from me. However, if I may be so bold as to paraphrase that commercial for breakfast sausage and in this case mean it with all sincerity – I wish I could tell you how I feel about a guitar driven rock song like this one. Jack White is back solo, baby! And it’s grand.

I think everyone associated with B&V knows what a big fan of Jack White I am. I got on his bandwagon early while he was still with the White Stripes, his original band – although admittedly not on the “ground floor.” It wasn’t until I heard White Blood Cells their third LP in its entirety that I got on the White Stripes’ bandwagon. I immediately purchased every LP the Stripes had put out before that which at that time was their debut LP and De Stijl. After that, I purchased every LP they put out including their live album… but then I’m known for loving live albums. If a group can bring it live, they just elevate themselves in my mind. And believe me, having seen the White Stripes in concert twice – once at venerable Memorial Hall in Kansas City, Kansas and the other at Starlight Theater on the Missouri side – they can bring it live. If you missed out on the White Stripes they put out a fabulous Greatest Hits LP at the end of last year that is a great place to start with their catalog.

I dug what Jack White could do with the guitar (and keyboards and vocals and production and pretty much all things music) so much that I followed him into his first side project, the Raconteurs. I thought that was a great creative outlet for him. Having only played with Meg White on drums, it was nice to see Jack stretch out with a full rhythm section (both bass and drums) and have a singing/guitar foil in Brendan Benson. Consolers Of The Lonely is probably my favorite of their records (“Carolina Drama” is epic), but I dug their last LP, Help Us Stranger as well. I was still so into Jack I even dabbled in his second side project, the Dead Weather where Jack mostly just plays drums (and sings a bit).

Eventually the White Stripes broke up and Jack went solo. And let me say, he did so gloriously with two great LPs, Blunderbuss and Lazaretto. Sure, I missed the White Stripes and especially the drumming of Meg White who is apparently retired, but Jack’s solo work was so outstanding it assuaged those feelings. I have even gone so far as to describe Jack White as one of the “great men of rock n roll,” based on a similar theory in history that posits that all of history can largely be explained by the actions of great men or heroes. Sadly, Jack lost me on his last solo LP, 2018’s Boarding House Reach. He hired a bunch of musicians who had never really played rock n roll and reached for something completely outside the box and sadly it just completely… lost me. However, I felt that he bounced back immediately in 2019 with his old buddies the Racnonteurs on the aforementioned Help Us Stranger. It seemed to give him that rock n roll structure and reign in some of his more excessive instincts. Everybody’s better with a band of comrades.

I did wonder what would happen with Jack’s solo career. Would he return? Would he just keep producing and working with the Raconteurs and the Dead Weather? Perhaps he’s turned his attention to Third Man Records, the label he owns. During the pandemic I wondered if perhaps he’d return to doing re-upholstery work? Heaven knows the world needs skilled laborers… there’s a fortune to be made. My concerns were answered late last week when Jack released a rocking new song, “Taking Me Back.” I’m beginning to think that Wednesdays at B&V may become our “new song Wednesday” celebration after last week’s new single from Neil Young & Crazy Horse, “Song of the Seasons.”  Lets hope new music keeps pouring out! Although admittedly while Young has a new LP, Barn slated for December, there’s no word on whether this new Jack White song heralds a new LP or if its a one-off. He did use the same artwork from Boarding House Reach so you never know…

“Taking Me Back” opens with guitar distortion that sounds like the tornado siren in my neighborhood, in a good way… warning kids, get in your basement, rock n roll guitar storm coming. Then Jack moves to a big, fat, fuzzy riff. I had a slight flash back to the White Stripes’ “Seven Nation Army.” These are the kind of unhinged Jack White vocals that I live for, almost barking over the cacophony of drums and layered guitars… the guitars seem to come at you from every speaker. I particularly like this lyric, about half way through, “When you drop the mail off to me and you make us both coffee, are you taking it black? Are you taking me back?” If this is Jack asking his audience if we’ll take him back after Boarding House Reach, all of us down at B&V say, “Hell, yes!” I played the track for the Rock Chick and she said, “That’s a really, really good song.” Indeed.

The single was released with another track. Just to prove what a genius he is, Jack re-recorded the song in an old timey manner that would have made Paul McCartney (who wrote “Martha My Dear”) green with envy. The second song is “Taking Me Back (Gently).” I actually love the “Gently” version of the song… well I love both versions. There’s a violin and brushed drums that move the song along. The vocal is completely different, much… calmer. There are acoustic guitars and piano – I particularly dig Jack’s acoustic guitar solo. Its funny to hear the same song, the same lyrics recorded in such radically different styles. I don’t know how else to describe the song other than, pure fun. Here are the tracks in all their glory:

I don’t know what this new song(s) portends but the world is always a better place when you’ve got some new Jack White to blast at maximum volume. I’m certainly hoping Jack and Santa put a new album in our stockings this December…

Cheers!

Review: The Beatles ‘Let It Be – Super Deluxe’ Edition – Is It Worth It?

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While I’ve been immersed in the Beatles’ box set Let It Be (Super Deluxe) for about a week now, having spent much of 2021 listening to George Harrison’s All Things Must Pass 50th Anniversary Edition and other music from 1971 LP anniversaries, I feel like I’ve been immersed the entire year in a groovy, hippy, Beatles’ haze. I really should have invested in that leather, fringe jacket the Rock Chick talked me out of. I don’t think there’s an LP more divisive in the entire Beatles’ canon than Let It Be. It truly had a difficult birth. When I was in college back in the 80s the board game Trivial Pursuit took the world by storm. There were a bunch of knock off versions of the game as well. A guy I knew had a Rock N Roll Trivial Pursuit game that we used to use as a drinking game before went out to the bars to… well, drink more. There were various categories in Rock N Roll Trivia, but the Beatles were special enough they had a category unto themselves. There was a vaguely worded question, “What was the last Beatles’ LP?” The correct answer of course is Abbey Road which was recorded after Let It Be. Unfortunately for my sobriety, the answer on the Trivia card was Let It Be. I finally scratched out the wrong answer and wrote in Abbey Road since despite being released before Let It Be, it was again, recorded afterwards. Stupid game…

The dye was perhaps cast for the Beatles the day they decided to retire from the road. They’d already started to become “studio wizards” on Revolver but after the August 1966 tour they stopped playing together as a unit live. In the studio they would lay down a basic track and then record different parts of the songs piece by piece. I think its safe to say that the thing that creates “chemistry” within in a band is standing on a stage or in a room together, playing your instruments while you look the other guys in the eyes. After manager Brian Epstein died McCartney tried to take over as “the leader.” The rest of the band responded like my stepdaughter when I first met her with a collective, “you’re not the boss of me.” Lennon met Yoko which is fine but then he started bringing her into the inner sanctum, the studio, where no wife or girlfriend was allowed prior. That strained things. I don’t blame Yoko, I blame John on that. Doesn’t matter how whipped you are, certain things are sacrosanct. When they all came home from their ill-fated trip to India – Ringo had come home early because he hated the food which makes me love him even more – there was quite a bit of camaraderie. They gathered at George’s house in Esher and recorded demos which were included in The White Album Super Deluxe Edition. It sounds like they were in a really good place at that point. Sadly, that goodwill quickly dissipated in the studio. John was foisting Yoko on the rest of the band, as mentioned bringing her into the studio… and she had “suggestions.” John and Yoko had been dabbing in heroin which is never positive. Paul drove everybody into the ground doing dozens and dozens of takes on filler like “Ob La Di, Ob La Da” that Lennon derisively described as “granny music.” People say Let It Be was the sound of a band breaking up… I disagree. The White Album is the sound of four guys headed in different directions, growing apart and, to quote Neil Young, “headed for a heartbreak.”

One of the few advances during the recording of The White Album was that they actually did start playing the tracks as a band again vs building a song piece by piece. For their next LP, it was McCartney’s idea that they should “Get Back” to playing live. He saw a documentary on Picasso where they filmed the painter starting with a blank canvas and followed his progress until the painting was done. How cool is it that Picasso and the Beatles existed on this earth at the same time and could influence each other…but I’m getting off topic. He wanted to film the rehearsals for a TV special and then record the new songs they’d developed live in front of an audience of select fans. Different venues were tossed around including a cruise ship or an ancient Greek theater. The recording at Twickenham, the TV sound studio, were disastrous. Harrison quit for three days. His conditions to return to the band were a) no live concert, the idea terrified him and b) they would return to the Apple Studios and ditch the cavernous sound studio. They wrapped up the sessions with the famous Rooftop concert. They set up the gear on the roof of the Apple Studios and surprised the West End of London by jamming over lunch one Thursday in January. It was their last public show.

Since the intention was to record all of this stuff live, George Martin’s role was greatly reduced in these sessions. There was to be no overdubs. Engineer and producer Glyn Johns had a lot more production responsibilities than he’s given credit for. Things had gone so badly during what were called the “Get Back” sessions, they sorta shelved the tapes. Eventually as they were splitting up after Abbey Road came out, they gave the tapes to Phil Spector to pull together another album that Capitol was demanding. I like what George Martin said about Spector’s role in the project. Martin felt the credits should read, “Produced by George Martin, overproduced by Phil Spector.” McCartney wasn’t even consulted with the final mixes and was livid that Spector added a bunch of strings and a harp to “The Long And Winding Road.” You have a project that you want to call “Get Back” to symbolize playing live, unvarnished music and you then turn it over to Phil Spector? Critics roasted them for that. When the LP was released, now named Let It Be it received the worst reviews of the Beatles’ history.

I remember when I was in junior high and high school the local mall had Midnight Movies. A bunch of drunk and stoned people hanging out at the mall while a movie played was basically how it worked. I’m astounded I could talk my parents into letting me actually attend the Midnight Movies. I saw Zeppelin’s ‘The Song Remains The Same,’ the animated film ‘Heavy Metal’ and yes, I saw the original movie ‘Let It Be.’ I remember thinking, “why aren’t they playing their hits.” I thought it was supposed to be a live concert thing. I remember it seemed like they bickered a lot… but I really don’t recall a lot about seeing the flick. I seem to remember we’d somehow smuggled a 12-pack of beer into the theater… so there’s that. The Beatles took all of the footage of the Let It Be leftover footage and gave it to famed director Peter Jackson (‘Lord of the Rings’), and he’s putting out a six hour mini-series from the footage… restored to glorious condition apparently. It comes out in November. To coincide with that, the Beatles have now released a Super Deluxe edition of Let It Be, much like they did for Abbey Road a few years ago. I personally didn’t think the Abbey Road Super Deluxe was worth owning… I’ve never liked that record, the second side medley drives me crazy as it did Lennon. The question is, is the Let It Be Super Deluxe worth it? I’d have to give you a qualified yes.

I was not a Beatles fanatic. There are Beatles fans who can discern different takes of songs and tell you the day and time the take was recorded. I’m not like that. I’m not that obsessive… well about the Beatles anyway. I bought Let It Be at the used record store on Metcalf when I was in college. I came at it without all the baggage that Beatles fans brought to it. I always thought the Beatles were too polished and safe as a band. I loved Let It Be precisely for the reasons that the critics didn’t – it was raw and kind of sloppy. Maybe its because I’m a Stones guy and they were always a little more raw and that helped me with this LP. Let It Be has the classics “Across The Universe,” the title track and “The Long And Winding Road,” which are all essential Beatles’ songs. “Get Back” is one of their greatest rock songs. But it was the less famous stuff that I absolutely loved. “The Two of Us” which shows a heavy Everly Brothers influence is one of my all time favs. I always thought the song was McCartney writing about Lennon but he was writing about Linda. “I’ve Got A Feeling” is a great, underrated song. Harrison’s two contributions are just great: “For You Blue” is a rare blues tune from them (that I included on my “Rockers Playing Blues” playlist) and “I Me Mine” is played with a rocking vigor. They dusted off one of their oldest Lennon/McCartney tracks, that they’d never recorded, “One After 909” and its a rollicking good time. Disc 1 of the new Let It Be box is the original LP remastered in all its glory. If you’ve never heard Let It Be, this is the way to experience it.

During the tumultuous recording sessions, producer Glyn Johns took the raw tapes and put together an acetate of what he thought the Get Back (as it was still being called) album could be. It was just meant to be a starting place, an idea. He burned four copies and gave them to each of the band members. They weren’t impressed. It was too loose for their tastes. Well, naturally Get Back has been widely bootlegged over the years. I had never heard the bootleg version. Disc 4 in this box is that original, Glyn Johns’ take on Get Back. Again, this is another reason I think this box set is worth it. Get Back is a lot less polished than the version of Let It Be that got released (if that’s possible?). More importantly he kept “Don’t Let Me Down” perhaps my all time favorite Beatles’ song on the LP instead of just releasing it as a B-side. He doesn’t screw with “The Long And Winding Road” by adding strings and harp and yes Paul, its’ better. He also includes a version of “Teddy Boy” which ended up not being released by the Beatles. It became a solo McCartney tune. I really like this version of the album.

Disc 2 and 3 are outtakes and jams from the Let It Be sessions. I have to be honest, while there’s some cool stuff here I was slightly underwhelmed. I’ve been reading forever about all the stuff they recorded. Supposedly there are a ton of older cover songs they jammed on. None of that is really here. Its the knowledge that there is so much more out there – and yes, widely bootlegged – that didn’t make it onto this box that left me a little disappointed. There is some cool stuff – early versions of songs that ended up being solo tracks on the post-break up LPs: Harrison coaxing the band to play “All Things Must Pass,” and Lennon’s “Give Me Some Truth.” There’s a lot more studio chatter on Disc 2 and 3 and its cool to hear these guys interact. There are a lot of the songs that would eventually end up on Abbey Road. Early versions of “She Came In Through the Bathroom Window,” “Polythene Pam,” and a sketch of “Something” are all here. Hearing Ringo play “Octopus’s Garden” on piano with George encouraging him is interesting. I like the version of “Oh Darling!” here, it’s more of a jam. There are outtakes that ended up on Anthology 3 that were more fully realized that I would have liked to see included here but alas they are not. Even I have to admit, Disc 2 and 3 are probably for completists only. All of that said though – it is great to listen to these guys rediscover each other as a band to lock into that priceless chemistry they had.

This is a great sounding, fantastic tribute to one of rock n roll’s greatest bands most overlooked and underrated LPs. Is it worth it? At the end of the day I have to say yes based on a) the strength of the remaster of the original LP, especially if you don’t have it, and b) the inclusion of the Get Back album. While I dig the outtakes and studio jams, they might not be for everyone except fanatics like me. It does feel like you’re a fly on the wall. Personally I can’t wait to see what Peter Jackson does with the film… I’m sure I’ll share my reaction with you here…

“You and I have memories that stretches out ahead…” Cheers!

Neil Young & Crazy Horse Return With New Song, “Song Of The Seasons,” From the Upcoming ‘Barn’ LP

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*Image taken from the internet and likely copyrighted…

I can’t really say that I benefited from the whole “lockdown” thing. I thought perhaps it would be a chance for me to get into some kind of physical shape. I could take the time off the road, a small break in my itinerant professional life and I don’t know, start jogging. Maybe I’d lift weights for that super toned and “cut” body. There were plenty of projects I could have taken on. Perhaps I could have gone all arts and crafts-y with a nice scrap-booking project. I could have, for once and for all, conquered my insomnia. I might have taken up juggling, archery or fencing. Maybe I could have finally put in that sewing room for the Rock Chick… although she doesn’t sew and has no interest in the textile arts. Sadly, none of that really happened for me. I ended up just sitting around the house drinking whiskey and listening to rock n roll. I’ll certainly never describe that time the way Mellencamp (with Springsteen) sang recently as “Wasted Days.” There’s nothing wrong with listening to rock n roll.

One guy who seems to have put his lockdown time to good use is Neil Young. Man, that guy has been busy. I recommend everybody check out his Archive site, https://neilyoungarchives.com/, the guy is putting out all kinds of music over there. It’s a wonderfully curated look at Neil’s entire career. He’s put out a number of great live albums recently both solo acoustic and with his once and future backing band, Crazy Horse. He was finally able to sit down and concentrate on finishing the epic, 10-disc Archives Vol. 2. I was delighted to finally get my hands on that. Truly a highlight of the year. While it took him eleven years between Archives Vol 1 and Archives Vol 2 he’s saying on his website that he was able to focus during the lockdown and will actually be releasing Archives Vol 3 in 2022. Neil has promised releases in the past, so we’ll all have to wait and see…

More exciting perhaps (for me) is that Neil announced a while back that he was releasing an LP of new material this year. Due in December this year, the new album Barn once again sees Neil teaming with Crazy Horse. As I’ve mentioned in these pages before, like Eric Clapton (Yardbirds, Bluesbreakers, Cream, Derek & the Dominos), Young has played in a lot of different bands. I had forgotten that one of his earliest bands was the Mynah Birds with Rick James on lead vocals. They played Motown style stuff. I had known about that but had forgotten it completely until I saw the recent Rick James documentary. Strange bedfellows indeed… Neil of course went on to play with Stephen Stills in both the Buffalo Springfield and CSN (Y). He then began his solo career with a number of different backing bands: Crazy Horse, The Stray Gators, and the Bluenotes to name but a few.

Crazy Horse has always been my favorite of Neil Young’s bands. As Neil himself has said, “I just play better guitar with Crazy Horse.” Crazy Horse actually began as a band named The Rockets until Young stole most of the band away and dubbed them with the new Crazy Horse moniker. They were: Ralph Molina on drums, Billy Talbot on bass and Danny Whitten on guitar. Sadly Whitten passed away from mixing valium and booze… Whitten was eventually replaced by Frank “Poncho” Sampedro on guitar. Jack Nitzsche played piano with them for a while and guitar virtuoso Nils Lofgren has been in and out of Crazy Horse over the years. I’m not sure Young has ever had a guitar foil quite like Sampedro. Poncho would lock down the rhythm and Neil would play some of the most soaring solos. Sadly, a few years back Sampedro announced his retirement.

Over the last 8 or 9 years Neil had released a number of middling albums. I just couldn’t connect with them. Really, Psychedelic Pill with Crazy Horse in 2012 was the last LP that actually caught my attention. As has been pointed out by a few of my readers, that album could have probably benefited from some editing by Neil’s late producer David Briggs… Although I dug the 27 minute opening track… In 2019 Young surprised me by pulling Crazy Horse back together to record Colorado. In even better news, Nils Lofgren who had been playing with the E Street Band for many years was going to join Crazy Horse again to replace the retired Sampedro. I thought that was going to be even more of a guitar freak out… but it turns out Nils actually provided more musical structure than guitar foil. Colorado, to me, seemed to be a great little meditation on the environment. It wasn’t a great Crazy Horse album like Everybody Knows This Is Nowhere but it was certainly a really good one.

I was delighted to see that Neil’s upcoming record Barn turned out to be another Crazy Horse LP. Neil is such a musical nomad he rarely uses the same band twice. Once again he’s backed by his old pals Molina, Talbot and Lofgren. The new song is called “Song of the Seasons.” Much like on Colorado, Nils isn’t playing guitar on this track, he’s playing… of all things… an accordion. I told the Rock Chick – who it must be noted is neither a Neil Young, Nils Lofgren, Springsteen or accordion fan – that Nils was playing accordion and not guitar and she said, “Nobody uses Nils the correct way Nils should be used,” nodding her head. I can’t lie, the accordion actually makes the track.

The track starts with some of Neil’s iconic harmonica work… it almost reminds me of the Young classic “Old Man.” Then the acoustic guitars start strumming and Nils’ accordion comes in. Neil’s voice sounds a little fragile. Like much of what Neil focuses on these days in terms of subject matter on “Song of the Seasons” his concern is the environment and Mother Nature. I dig the sentiment of the opening stanza, “Looking through a wavy glass window, In this old place by the lake, And the colors of the falling leaves I see nature makes no mistake.” It feels like autumn in this song, I almost feel I need a sweater. And yet, as with most things Neil it’s more complicated than all that. There’s a love story woven through the song… “Song of the seasons coming through me now, like the wind in your hair, we’re so together in the way that we feel we could end up anywhere.” I feel that way about the Rock Chick… He even has a nice word for the Queen and her late husband. It’s just this beautiful acoustic, down home mediation where Neil can see the whole world from his rustic front porch. The track lasts over six minutes but the melody is so addictive that you’ll think it was too short. I hear this and feel like there’s a fire in the fireplace and sawdust on the floor… maybe a few cold beers open on the table…

I really dig this tune, it pulled me out of my Beatles’ Let It Be Super Deluxe trance I’ve been in and I knew I needed to share. I’d love to hear one of those good ol’ guitar blasting epic tracks that Neil was known for with Crazy Horse. God knows, Nils is a great guitarist for him to play against. But I also love acoustic Neil. My favorite song from Colorado was the opening track, the acoustic strummer “Think of Me.” This track reminds me a little of that but that folksy accordion, with the acoustic guitar and harmonica just move this little lilting track along. It’s a great song and fills me with a lot of excitement for the upcoming Barn. It’s Neil Young. It’s Crazy Horse… with Nils. What could go wrong?

Cheers!