Author Archive

The Soft Boys “Underwater Moonlight”

| Pop,Punk

Underwater Moonlight

While we’re a little ahead of the era, I’d like to throw in this post-70’s classic from The Soft Boys. Full of great songs, that get to you slowly, and jangly guitars, Underwater Moonlight is their masterpiece 2nd record and (excuse my indulgence) it fucking rocks.

First off, any album that opens with I Wanna Destroy You would make the cut any day. A serious blast from the speakers and dual guitars stabbing all over the place, a great harmony line sings the title, but Robyn Hitchcock says the “You” part with an ‘F off’ sensibility, and thus bridges the gap between The Byrds and punk rock. By Kingdom of Love, we’re in for the ride. It may take a few listens to get used to these tracks, but they will become anthems to you; each track on Underwater Moonlight is a treat. There are Television (band)|Television-like bass and guitar runs, breakdowns and some gnarly licks like in the bluesy I Got The Hots. Lyrically, Underwater Moonlight is extremely weird and surrealist. Take this bit from Got The Hots for example: “When you see her your eyes awake, electric bulbs on a birthday cake. Would you care for a lump of steak?” But the lyrics never sound dumb and they won’t embarrass you, just don’t try figuring them out.

Insanely Jealous is a powerhouse track with an almost 80’s dance beat sound to its pulsating high-hat pinching rhythm. Tonight and the surf-inspired instrumental workout, You’ll Have To Go Sideways are personal favorites and Old Pervert beats with intense authority, showing some Capt. Beefheart influence. It’s an album that will slowly work its way into your psyche and eventually become a simple classic.

The 2001 Matador re-release includes a 2nd disc chronicling the rehearsal takes leading up to Underwater Moonlight. These are not throw-away tracks by any means (especially Only The Stones Remain) and it’s a beautiful reissue. This may not mean much to you, but this is an album that I carried around with me for a whole summer, dinging up the case, dripping paint on it somehow, and making it all the more VG+++ in my mind.

“Insanely Jealous”

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Crazy Horse “Crazy Horse”

| Country Rock,RnB

Crazy Horse

Crazy Horse was formed by the excellent songwriter Danny Whitten, who originally released an album while known as The Rockets, considered essential for collectors. Nils Lofgren, virtuoso guitarist, and Jack Nitzsche, Spector associate and renowned producer, joined when Neil Young recruited the band to back him on his 2nd solo album, and they were renamed Crazy Horse. Their debut is an excellent hard country rock LP that would prove the capability of the band apart from Neil Young’s lead vocal and songwriting.

This record packs a most satisfying punch. There are some bruisers on here in “Gone Dead Train” and the foot-stompin’ “Beggars Day” with its phaser/flanger effect penetrating the mix. Parts sound inspired by Young and “Dance, Dance, Dance,” under his pen, is a kickin country rock number with an old-timey feel. Arguably, the best tunes come from Whitten, like the hypnotic “Look At All The Things,” a soft and beautiful ballad, “I Don’t Want To Talk About It,” and of course the rollicking “Downtown” which would resurface on Neil’s Tonight’s The Night.

Sadly, Danny Whitten’s heroin use would lead to him being excused from Crazy Horse and he overdosed in late 1972. A major loss considering his unrealized talents, best heard on this album, and his death would partly influence the Ditch Trilogy.

Forget the whole story though. Forget Neil Young. Just get yourself some Crazy Horse and drive.

“Look At All The Things”

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McGuinness Flint (self-titled)

| Americana,Folk,Pop,RnB

McGuinness Flint

Here’s another roots rock classic in the same vein as The Band, only this slice of ‘Americana’ is from the UK! McGuinness Flint is sort of ‘The British Band’ and their debut album is a good, straightforward roots rock record worthy of your attention.

McGuinness Flint are Steve McGuinness, former Manfred Mann guitarist, and Hughie Flint, former John Mayall & the Bluesbreakers drummer. They only lasted from about 1970-1973 and thus were a bit ahead of the emerging Pub Rock scene in the UK, which might have provided them some more longevity, but it was well received in 1971. Two of these songs made the top 5 upon release in the UK: the upbeat go-to track, When I’m Dead And Gone(#2), and the polka-ish Malt And Barley Blues(#5). There are fun and strong tunes here like Bodang Buck, and Lazy Afternoon has a great mid-song transition. Mister Mister is brilliantly penned and infinitely catchy. Mainly, a good English folk/blues classic, and a pleasurable listen.

Faintly, the album teases some classic rock schmaltz; I don’t know how comfortable I’d be singing along to the lyrics “Rock on, rock on, everybody’s gonna rock on!” (unless it were a T-Rex song or something). And one time I dj’ed a track from this at a party and had to cut it short. But you can’t let missteps like these be judge. Fans of the Band are sure to be pleased with this quality record and will find the right time and place to let it ride.

The Capitol Years collection of Flint is your best bet, combining their first two albums on the same affordable CD. Their 3rd album, Lo and Behold, is a collection of Dylan covers!

“When I’m Dead And Gone”

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Bobby Charles “Bobby Charles”

| Americana,Pop,RnB

Bobby Charles

Bobby Charles’ self-titled debut album is an easy favorite. Fans of The Band have no excuse not to track this one down, as it features production work from Rick Danko, keys from Garth Hudson and contributions from Levon Helm, and Dr. John as well. (Check the lineup here). If you love The Band (s/t) and Music From Big Pink, this is the next record you need.

The record hits you song after song with its relaxed vibe, authentic lyrics, and instantly gratifying hooks. Bobby kills me when he sings “oh what a good day to go fishing” on the ballad “I Must Be In A Good Place Now” and the 100th time thru the “Save Me Jesus” chorus gets me too. Bobby Charles s/t is split pretty much down the middle with soulful ballads and upbeat groovers. “Grow Too Old” borders on a Randy Newman sound. “He’s Got All The Whiskey” should be a standard! “Small Town Talk” is like a country-cajun Shuggie Otis! Who’s not going to dig this?

The songs on the B side take a little more investment to hear, but they all pay off. There’s the beautiful “Tennessee Blues” and an ahead-of-its-time treatment to (bonus track) “New Mexico.”   A really classic and contemporary sound on these tracks and just a perfect feel. Sick album, I love it.

“Small Town Talk”

mp3: New Mexico

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The Family Tree “Miss Butters”

| Concept Albums,Pop,Psych,Sunshine

Miss Butters

It’s great to see an album like Miss Butters finally getting the reissue treatment it deserves. The Family Tree was the product of the genius of Bob Segarini, and their only album is a fantastic and interesting conceptual piece with tunes as memorable as any Broadway musical (only really cool).

This record is a must for any Nilsson fan, not alone for some of the similar feels, it was recorded at the same studio as Aerial Ballet, using the same arranger for orchestra parts, same producer, and Harry even wrote a track. A Nilsson album in spirit, but unlike anything he was capable of creating. The Miss Butters recording is superb in its production, the equal of any Beatles record, and soars with string arrangement, backing vocal, and complex song structure.

Previously, Miss Butters was presented in an unapproved stereo mix on vinyl. The CD reissue has remastered audio from the master tapes presented in original mono (and really, really nice sounding). This is a masterful reissue from Revola for a record that truly deserves it. Bravo.

“Any Other Baby”

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Black Sabbath “Black Sabbath”

| Prog,Psych,Punk

Black Sabbath

“In the beginning, there was nothing. And then Black Sabbath said “LET THERE BE METAL!” (had to quote this guy). But considering, before this self-titled destroyer was unleashed, the closest things we call metal are a handful of Yardbirds and Zeppelin tracks and Iron Butterfly, Sabbath really did spawn a whole new genre, in Satan’s name.

Just imagine as a kid in 1970, heavy into tracks with overdrive guitars, you put this on the record player, we hear burning leaves, a distant church bell, a rising storm, the ungodly slow crunch from the band kicks in with scary timing, a whole new sound. We’ve just spun Black Sabbath by Black Sabbath from Black Sabbath. Sick.

The album is rooted in hard rock and the blues still, of course. The Wizard is a smokin’ workout with a harmonica lead and Ozzy’s characteristic vocals. N.I.B. is easily another defining track for early metal. There are some more period piece numbers too, such as Evil Woman. It’s still got the heavy detuned power chords and shredding, but there is a bluesy beat to it with a poppy chorus. They take it down almost all the way to folk on the intro to Sleeping Village, before their instrumental assault extending into the 10-minute Warning.

Black Sabbath would go on to release a solid string of excellent records (their first four the best), including the tour-de-force, Paranoid. I chose to review this one today because it has the scariest cover. Happy Halloween!

“Black Sabbath”

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Harry Nilsson “The Point”

| Concept Albums,Pop,Sunshine

The Point

I wish I could say I grew up with this record. I can’t say whether I would appreciate it more or less having discovered it in my 20th year or my 10th. Regardless, Nilsson’s kid pop masterpiece is a delight to hear on first discovery or nostalgic relisten.

Piano and bongos open up the groove before Nilsson begins to speak. “Everything’s Got Em” is a wonderful, catchy opener. Each track is bookended with Harry’s comforting narration, audible sips of water sips and page turns providing homey color. The story is a fable. Oblio, the only boy in town without a point on his head. After multiple listens (a must have record for road trips) you may catch yourself singing the narration as much as the songs “…you see what you want to see and you hear what you want to hear.”

The orchestration: piano, clavinet, mandolin, pizzicato strings, mellow percussion; every rhythm on this record interlocks in the most satisfying way. Nilsson crafted a pop sound with a hint of jazz that you’ll find nowhere else. “Think About Your Troubles,” “Are You Sleeping,” and “Me And My Arrow” are tracks that you will never forget.

There was a cartoon movie version of The Point (DVD), with Ringo Starr’s voice, but I find it to be a let-down after hearing the album. I suppose you have to see the movie first to enjoy it. I’ve always dreamed of a redone animated film of The Point, using something like the knitted style shown above, as a visual accompaniment to the album. It would have to be quite a work of art, thinking of that, to approach the genius of this record on its own.

“Think About Your Troubles”

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Todd Rundgren “Something/Anything?”

| Classic Rock,Garage,Pop

Something /Anything

Released in 1972 as Todd Rundgren’s 3rd solo album, all the parts were played and produced by Runtgreen himself, excluding side 4 which was performed with a backing band. Though most of it would feel about right on Lite 97, there’s no denying the cool, and when people doubt you for throwing it on, they miss the point.

The big hits here are “I Saw The Light,” easily recognized from pop radio, and the beautiful Nazz redo, “Hello It’s Me.” Electric bass guitar, piano and electric keyboard, clean drums, a variety of percussion instruments, large-scale vocal layering comprise some elements on these familiar, warm tracks. Furthermore, some rockist yelps in “Slut” and “Piss Aaron” and straight up weird songs like “I Went To The Mirror.” It’s a long double record, so we have tracks like the vocoded “Breathless,” the Wurlitzer (?) led “Carousel Burnt Down” with its psychy meltdown. Elsewhere: bits of dialog and blubs, tricks with analog tape, all sorts of things you would do with a pet project, I guess.

This is one of those records that if trimmed from a double album to a single album would have been utterly perfect.

Todd Rundgren is a gift to the history of recorded music and we better just buckle down and get used to the record. The Beach Boys are universally cool now, so there’s no reason to deny this light pop masterpiece. Previously we covered Todd’s brilliant A Wizard, A True Star.

“The Night The Carousel Burnt Down”

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Roy Wood “Boulders”

| Art,Pop,Power,Psych

Boulders

Roy Wood is one of the architects of ELO and The Move, and possessed some of the most eclectic tastes and interesting ideas of any pop artist in his time. Boulders, his self-produced 1969 (though released 1973) solo-outing combines the hard rock of The Move with Roy Wood’s classical tastes, satisfying pop composition skills, and studio wizzardry.

A fantastic listen from start to finish. “Songs of Praise” might throw off casual ears with layers of harmonized vocals, but throughout the record the dubbed vocals are played almost as masterfully, though more humorously to be sure, as our old friend Nilsson. There’s the brilliantly produced “Wake Up,” with double-tracked acoustic guitars in stereo, flutes, cello, best of all: percussion from a puddle of water! Elsewhere we hear sped up and slowed down vocals, plentiful horns and woodwinds. Delicate sleigh bells and shakers, tiny mistakes, xylophone accents; there are a million precious details. It sounds as if Wood had picked out toys and instruments from the studio like it were a candy store. Additionally, it gives the feel of a fellow finally getting the control over the studio he’s always needed, and just having a blast with it. It is comforting in a strange way to know the record was designed entirely by Roy, making each ornament of sound stand out a bit more.

Despite Roy’s legacy of music in other projects The Move, ELO and Wizzard, I consider Boulders to be his finest work. Roy writes to us on the sleeve of the recent reissue and asks that we not distribute this album illegally online. Boulders is a brilliant listen and is truly worth your money.

“Wake Up”

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Buffalo Springfield “Again”

| Classic Rock,Country Rock,Pop,Psych

Again

Buffalo Springfield recorded three albums from 1966-1968 and the first two are essentials. Again is their 2nd and affords some improvement over their near perfect debut. This is the group that launched the careers of Stephen Stills and Neil Young; Buffalo Springfield is a must for fans of Manassas, the Byrds, CS&N, Neil Young. At times, it’s almost as if they were all the same band.

Neil’s “Mr. Soul” is like the Byrds and the Stones with Neil Young on vocals, a great song along with the orchestral “Expecting To Fly.” “Bluebird” sounds like a CS&N preview with its hard riffin’ acoustic guitar lead, solidified by its postscript: an acoustic ‘take two’ on the track, genius. “Hung Upside Down” is a great track that caught the attention of Colin Blunstone (check out his rendition here). “Rock and Roll Woman” is total Manassas preview material and Neil closes it up with the lovely “Broken Arrow,” maybe the nicest track (and certainly most interesting, with its sound collages) on here. There are different directions on Again, but its all still cohesive enough to contain some magic.

What really drives this record for me is the rhythm section. That plucky electric bass and the punchy airless drums, it’s just the sound you want from the rhythm section on any rock record. If all you know of Buffalo Springfield is “For What It’s Worth,” get your shit together and find this record. (Don’t settle for Retrospective.)

“Bluebird”

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