Archive for the ‘1975’ Category

Doing It Again

May 18, 2022

Originally posted September 8, 2009

I was reminded this weekend of the summer of 1985:

I’d returned that February to Minnesota after eighteen months in graduate school in Missouri. I was doing some free-lance work, and sometime in April, to keep the budget from stretching as thin as tissue paper, I started working weekend overnight shifts at a local convenience store. While that was sometimes interesting, and while it fulfilled its purpose of keeping us from going broke, it wasn’t a lot of fun. But we do what we have to do.

Then, one weekday afternoon around the end of May, I got a call from DQ, the editor and publisher of the Monticello paper, my old boss. He said he’d heard I was working the graveyard shift, and he wondered if I’d like to spend my summer covering sports free-lance for the Times. As one might expect, that was a better prospect than manning the counter at Tom Thumb. So I soon found myself back among familiar faces, covering town team baseball, slow-pitch softball, American Legion and Babe Ruth baseball and all the bits and pieces that make up the summer sports scene in a small town.

I’d covered all of those before, of course, during the nearly six years I’d been a reporter and then the news editor at the paper. But there was something different (different beyond the financial structure, that is). For some reason, in early 1985, baseball – the game and its history – captured my attention. I bought my first tabletop game (after occasionally battling Rob during visits to his house). I bought the first serious bits of a baseball library, with one of the first volumes being The Bill James Historical Baseball Abstract. And when DQ called and offered me the sports department for the summer, with its emphasis on baseball, I was ready.

I’d reported on baseball before, of course, covering six seasons of high school ball in Monticello and nearby Big Lake, and spending six summers writing accounts of the town team’s efforts. But I’d never really had more than a basic grasp of the game. Now I was digging more deeply, reading about the game’s history, yes, but also learning how to watch baseball more analytically, learning how to see a game as it was played.

The coach of Monti’s American Legion team that summer, though he was not much older than I, was one of the town’s old baseball hands. His history and that of recent baseball in Monticello were intertwined. He’d played high school and Legion ball for Monticello and for years had been the manager, organizer and No. 1 pitcher for the town team. No longer able to play, he was coaching the American Legion squad, and when he noticed how much more I’d learned about baseball and how eager I was to learn more, he invited me – during those evenings I was covering his team – to sit in the dugout and keep the scorebook.

Very soon, I was spending my evenings with the Legion team even when I wasn’t covering the game, per se. I became in some ways part of the team, and my reporting about the team and its games became better for that.

(That’s one of the unique qualities about small-town journalism, that one can sometimes be a part of the community events one reports about. Becoming attached to the local American Legion baseball team provides little chance for conflict of interest, of course, although there are scenarios where such a conflict could arise. [Given that I was covering only sports that summer, the most likely possibility, I would think, would be something regarding broken eligibility rules and forfeits.] But during my earlier years at the Monticello paper, I was a member of the local school district’s community education policy board, and I was active in Democratic politics. That works in a small town – and Monticello at the time was home to a little more than three thousand folks – because people in town know you as more than a byline in the weekly paper, and either trust you a little more or else know where to find you when they want to complain. I’d hazard that the smaller the community, the more frequently one will find folks from the local paper filling other roles in town that seem to bring the possibility of conflict of interest. As one heads up the population ladder, however, the greater distance between a reporter and his or her audience makes such involvement less frequent and less wise.)

It felt good to be accepted in the dugout and on the field that summer. Even opposing coaches of teams we played – and my use of “we” indicates how I still feel about that Monti team – recognized me and nodded at me when our paths crossed before games. The most important thing to me about that summer of American Legion baseball, however, was being a better baseball writer. I’d been okay during the six years that had come earlier. But because of my reading, because of a new-found love of the game, I was better prepared. I had a second chance to something I loved and to do it better than I had before.

I thought of that summer of 1985 and my second chance to write about baseball this weekend because this post – the first real post at my new digs on WordPress – is the start of my second chance at a music blog. I’m not sure how different this version of Echoes In The Wind will be from the one that Blogger deleted last week. Maybe very little. I do have a sense that I won’t be posting six days every week, as I ended up doing there. (The Saturday Single will continue, though, starting with No. 148 four days from now.) There may be great changes beyond the location and the appearance, or the blog may be much the same. I don’t know.

All I really know is that Echoes In The Wind has a home again.

A Six-Pack of Again
“Back On The Street Again” by Swampwater from Swampwater [1971]
“Don’t Let Me Down Again” by Richard Torrance & Eureka from Belle of the Ball [1975]
“Play It Again” by Ray Thomas from From Mighty Oaks [1975]
“Born Again” by Emily Bindiger from Emily [1971]
“Sunshine In My Heart Again” by the Sanford/Townsend Band from Smoke From A Distant Fire [1977]
“Back Here Again” by Cold Blood from Lydia Pense & Cold Blood [1976]

Swampwater, notes All-Music Guide, is better remembered here in the U.S. as Linda Ronstadt’s first backing band after her time with the Stone Poneys. “Back On The Street Again” comes from the group’s second album, the group’s first on RCA. (The group’s debut, on Starday/King, was similarly titled Swampwater; I’ve on occasion seen the second album, the RCA record, titled Swamp Water, but I’ve gone with the more common single-word spelling, confusing though it may be.) The song here may ring a few sonic bells in listener’s heads. The Stone Poneys recorded it for their final album, Evergreen, Vol. 2, and the Sunshine Company had a minor hit with the song, with the record spending three weeks in the Top 40, peaking at No. 36. Swampwater’s version kind of falls in a niche between the sweet pop of the Sunshine Company and early country rock, tending toward the latter when the steel guitar solo pops up.

“Don’t Let Me Down Again” is a Lindsey Buckingham tune that showed up on Buckingham Nicks in 1973 and has popped up in a few other places, including Belle of the Ball, a 1975 album by Richard Torrance and his band Eureka. Torrance’s version of the tune has some similarities to Fleetwood Mac, which entered its California rock era during the same year, 1975.  Belle of the Ball was one of two albums Torrance released on the Shelter label, started by Leon Russell; three more came on Capitol. I like his stuff; it’s post-hippie California rock, but sometimes it seems just a shade more muscular than that description would lead one to expect. Some more of Torrance’s stuff just might show up here soon.

Ray Thomas is, as All-Music Guide points out, “of a handful of well-known flute players in rock music.” And he’s spent most of his professional life playing that flute for one band: The Moody Blues. From Mighty Oaks was recorded and released during the hiatus the band took between 1972’s Seventh Sojourn and 1978’s Octave. Interestingly, a look at the credits at AMG – assuming they’re complete – shows that no other member of the Moodies was involved in Thomas’ first solo album. (He also released Hopes, Wishes and Dreams in 1976.) Nevertheless, From Mighty Oaks sounds like a Moodies album, as one might expect. And it’s perhaps overdone, at times. But at the very worst, it’s pleasant, and at the time – when listeners and fans had no firm indication if the Moody Blues were going to record again – it was one of several solo projects that helped fill the gap.

Emily Bindiger is an American actress and singer. Her bio at Wikipedia is filled with impressive credits: She’s a member of the a capella group The Accidentals. She’s recorded for soundtracks for movies such as The Stepford Wives, One Life to Live, Bullets Over Broadway, Everyone Says I Love You, Donnie Brasco, The Hudsucker Proxy, Michael Collins and many, many more. And those are just a few highlights from her entry. But Wikipedia doesn’t mention one of the most interesting things about her; nor does her page at The Accidentals website: In 1971, when she was sixteen, Emily Bindiger recorded an album of what the blog Fantasy called “folk psych” with the French band Dynastie Crisis. “Born Again” is from that album, titled simply Emily, and is a pretty good example of what the record offered. The music can be a bit spare, but I like it. (Thanks for Fantasy for the rip.)

“Sunshine In My Heart Again” is a decent track from the second album by Ed Sanford and John Townsend and their band.  There is some confusion in various sources about the album’s title and the band’s name. Most sources call the album Smoke From A Distant Fire, while AMG appends the word The to the beginning. And while the band’s name on the album cover is clearly Sanford and Townsend, the Billboard Book of Top 40 Hits calls the group the Sanford/Townsend Band. Of course, that latter might have been the credit on the hit single pulled from the album. The hit, as I’d imagine most of you know, was the title track, ”Smoke From A Distant Fire,” which went to No. 9 during the late summer of 1977.

“Back Here Again” comes from Lydia Pense & Cold Blood, the last album Cold Blood released during its run in the late 1960s and early 1970s. (The group has released two CDs in the past few years; the first is an album of live performances from 1973 and the second is an album of new material, 2005’s Transfusion.) Still funky, with Lydia Pense still singing well, Lydia Pense & Cold Blood – which was released in 1976 on ABC – evidently got little attention. And that was too bad. Cold Blood was one of those groups that, with a little bit of luck, could have reached the top tier. The same can be said for a lot of groups and performers, I know, but not many of them were as tight, as funky or as good as Cold Blood.

Saturday Single No. 147

May 17, 2022

Originally posted August 30, 2009

Note from 2022: I evidently posted about the death of musician Larry Knechtel on this day, but that post is for some reason missing from my Word archives. The files do contain an addendum to the post from later that day:

I posted about Larry Knechtel this morning. And early this afternoon, I got a note from Patti Dahlstrom:

Dearest Family and Friends,

I have just received the sad news today from Art Munson and Artie Wayne that a dear friend of mine, Larry Knechtel, has passed on.  Larry was a legend in pop music, still more than that he was one of the most down-to-earth people and true hearts I have ever known.  I was blessed to have Larry play piano on my 3rd album.  He came into my life when I was deeply heart-broken, as I had lost a great love and my piano player.  He stepped in with compassion and patience and we quickly became good friends. He played piano, bass, harmonica and sang background vocals, as well as producing and arranging my 4th album on which we had a song we wrote together, Changing Minds, which will be included on my CD release here in the UK.

The last time we exchanged emails was on his birthday August 4th.  Leo rules the heart and he had a big one that gave and gave until it finally gave out.  The obits say he played a concert the week before.  It is only fitting that Larry should play until the end. The earth is a sadder venue without him.  He was a great friend whom I treasured.

I’m attaching a song I wrote with Artie Wayne when Jim Croce died.  Larry is playing piano on it.  It is appropriate that I send it out in his memory now.  Thank you for everything, Larry.

Patti

“Sending My Good Thoughts” by Patti Dahlstrom from Your Place Or Mine [1975]

Patti gave me her permission to post as well a song on which Larry Knechtel contributed an amazing harmonica solo:

“Lookin’ For Love” by Patti Dahlstrom from Livin’ It Thru [1976]

Richard, Three Degrees, Jay+ & Jools

May 12, 2022

Originally posted July 23, 2009

Rummaging as usual today, I found a fascinating clip from a British television show examining the greatest one-hit wonders. Here’s that show’s take on Richard Harris and “MacArthur Park.”

Video unavailable.

This is interesting: Here are the Three Degrees live in London in 1975, with their rendition of “MacArthur Park.” The dancing is, well, cheesy, but the vocal performance and the musical backing are pretty good.

Video unavailable.

Here’s a video put together or taken from another source – long after the fact, I assume – to go with Jay and the Americans’ version of “Always Something There To Remind Me.” I don’t recognize the video. Does anyone out there? It’s a little ambiguous and disturbing for some reason. Or it could just be too early in the morning.

And to close, here’s a performance from one of Jools Hollands’ New Years’ fetes, with Ron Wood, Slash and Holland taking on Chuck Berry’s “Little Queenie.” They get an assist from a strolling streaker, whom Slash doesn’t even notice.

Video unavailable.

Tomorrow, I think we’ll do something we haven’t done in a while: Select a record label and pull a random selection of singles. At least we’ll start there.

Ten From The Seventies

June 28, 2013

Originally posted May 27, 2009

It’s been a while since I’ve looked at some of the numbers surrounding the mp3 collection, so I thought I’d do that today. (Actually, I did a post of that sort in February, but it disappeared that day; those things do happen from time to time.)

As of this morning, the collection (I’d considered calling it a “library,” but that sounds a bit, well, pretentious) contains 37,849 mp3s. The earliest recorded is “Poor Mourner,” performed by the Dinwiddie Colored Quartet in Philadelphia on November 29, 1902. I have a number of things recorded (or at least released) this year, the most recent purchase being Bob Dylan’s Together Through Life, which I got early this month (and quite enjoy).

Most of the music comes from the 1960s and 1970s, which shouldn’t be a surprise to anyone who stops by here. Here’s a breakdown by decade from the middle of the Twentieth Century onward:

1950s: 1,152
1960s: 8,820
1970s: 13,445
1980s: 3,327
1990s: 4,525
2000s: 5,319

As I expected – and said above – the 1960s and the 1970s dominate, because that’s where my musical heart and major interests lie. And I have demonstrably less interest in the 1980s than in the music that’s come along since, which is no surprise. Taking things a step further, I thought it might be instructive – or at least interesting – to pull the Seventies apart and see how each year is represented in the collection:

1970: 2,627
1971: 2,513
1972: 2,175
1973: 1,556
1974: 1,107
1975: 1,038
1976: 802
1977: 674
1978: 528
1979: 425

Well, that’s about how I thought it would curve. Maybe I’ll look at other decades in the future. But for now, here’s one recording from each year of the 1970s, selected more or less randomly.

Ten From The Seventies
1970: “Friend of the Devil” by the Grateful Dead from American Beauty
1971: “Finish Me Off” by the Soul Children from Best of Two Worlds
1972: “By Today” by Batdorf & Rodney from Batdorf & Rodney
1973: “Come Strollin’ Now” by Danny Kortchmar from Kootch
1974: “Ramona” by the Stampeders from New Day
1975: “Get Dancin’” by Van McCoy & The Soul City Symphony from Disco Baby
1976: “I Got Mine” by Ry Cooder from Chicken Skin Music
1977: “People With Feeling” by the Three Degrees from Standing Up For Love
1978: “Rover” by Jethro Tull from Heavy Horses
1979: “One Way Or Another” by Blondie, Chrysalis 2336

The best known of those, likely, are the two that bookend the group: the Grateful Dead’s “Friend of the Devil” and the Blondie single.

The Soul Children have popped up here from time to time. “Finish Me Off” is a great vocal workout by a group that I think was in the shadows as Memphis-based Stax began to fade in the early 1970s.

Batdorf & Rodney was a singer-songwriter duo that had a couple of good but not great albums during the years when there were similar duos on every record label and in every barroom. Batdorf & Rodney wasn’t among the best of them, but neither was the duo among the worst.

Danny Kortchmar was one of the more prolific session guitarists of the 1970s; his list of credits is impressive. For his 1973 solo album, he pulled together a number of the other top session musicians, including Craig Doerge on keyboards and horn player Jim Horn. (I think that’s Horn on the extended solo in “Come Strollin’ Now,” but it could be Doug Richardson.)

The Stampeders of “Ramona” are the same Stampeders who did “Sweet City Woman,” a No. 8 hit in 1971. The banjo is gone, and so is the quirky charm that it lent to the group’s sound. “Ramona” sounds like the work of any other mid-Seventies band. Oh, well.

Two of these are aimed at getting us out of our chairs and onto the dance floor. The Van McCoy track does a better job of that than does the track by the Three Degrees, maybe because McCoy has no other aim than to get us dancing. The Three Degrees, on the other hand, were trying to put across a serious message in the lyrics. By that era of the Seventies, though, it was pretty much about the boogie, not the words.

The Ry Cooder is your basic Ry Cooder track: rootsy and a little sardonic and fun. This one comes from one of his better – and most varied – albums. The Jethro Tull track comes from an album I tend to forget about when I consider the group. And every time I’m reminded of it, I remember that Heavy Horses has aged better, it seems, than most things in the Tull catalog, certainly better than Aqualung (which I love anyway).

Hot Tuna, The Staples, Patti & Bruce

October 3, 2012

Originally posted May 14, 2009

It’s Thursday, and that means some wandering around YouTube.

A Hot Tuna track showed up in yesterday’s random 1975 package. Here’s a video from about 1970 of Jorma Kaukonen and Jack Cassady doing a particularly nice version of “Hesitation Blues,” which was the opening track to Hot Tuna’s self-titled album.

There are lots of Staple Singers clips out there, but I did a little digging and found what I think is a gem. It’s a performance from the PBS performance show Soundstage, with Joss Stone and Mavis Staples taking on the Staple Singers’ “I’ll Take You There.” The show originally aired October 6, 2005.

Here’s a fine live performance of “Because the Night” by Patti Smith. I’m not sure of the date, but I’m going to guess right around 1978, when the Easter album came out.

And I can’t let the week go past without posting at least one performance by Bruce Springsteen; Here’s Bruce and the band performing “Land of Hope and Dreams” on April 19, 1999, in Milan, Italy.

About “Good Lovin’”
I got a nice note from David Y. earlier this week. He said some kind things about the blog and then he commented on my calling Springsteen’s performance of “Good Lovin’” a cover of the Young Rascals, noting that when the Young Rascals recorded the song, they were in fact covering an R&B group. I did some digging, and that’s the case: The Olympics, who are best remembered for 1958’s “Western Movies,” recorded “Good Lovin’” in 1965. Had I known that (and maybe I should have), I think I still would have referred to Springsteen’s performance of the song as a cover of the Young Rascals, as the concert performance replicated the Young Rascals’ recording, right down to the brilliant organ solo, an element that’s missing from the Olympics’ version, which also has a more measured pace.

But listen for yourselves. Thanks to the generosity of Larry at Funky 16 Corners, here’s the original:

“Good Lovin’” by the Olympics, Loma 2013 [1965]

A ‘What If . . . ?’ From 1975

June 20, 2012

Originally posted May 13, 2009

I won’t spend much time here today: I’m worn out. And I have things to get done and an appointment this afternoon.

But I had one more thought to share in connection with Monday evening’s Springsteen show. As we were driving home, while Monday turned into Tuesday, the Texas Gal and I were reviewing our favorite parts of the show.

I’ve mentioned in this space at least once that I came late to all things Springsteen. I was aware of him in 1975, when Born To Run garnered an incredible amount of publicity and attention, but I didn’t really dig into his work until Tunnel of Love came out in 1987.

And the thought occurred to me as we rode through the Central Minnesota darkness: If I had bought Born To Run when it came out, as I was tempted to do, my life would have been much richer. I don’t know if that’s true or not, but it was an interesting idea to chew on as we drove through the dark toward home.

And here’s a generally random selection from 1975, the year I didn’t buy Born To Run.

A Six-Pack From 1975
“Song For The Fire Maiden” by Hot Tuna from Yellow Fever
“Don’t It Feel Like Heaven” by Brewer & Shipley from Welcome to Riddle Bridge
“Big Mac” by the Staple Singers from Let’s Do It Again
“Midnight Flyer” by Three Dog Night from Coming Down Your Way
“(To Say The Least) You’re The Most” by Tower of Power from Urban Renewal
“Primavera” by El Chicano from The Best of Everything

Hot Tuna began in 1969 as an offshoot of Jefferson Airplane, a place for Jorma Kaukonen and Jack Cassady to explore their acoustic and blues inclinations. But by the time of Yellow Fever, acoustic blues were a small portion of the group’s work. “Song For The Fire Maiden” is a relatively soulless piece of mid-Seventies boogie and not the best place to go looking for the original spirit of Hot Tuna.

By 1975, Brewer & Shipley were polishing the country-rock hybrid they’d been exploring for more than five years, the same inclinations that brought them a hit in 1970 with “One Toke Over The Line,” a No. 10 hit that’s often dismissed – inaccurately – as a novelty record. “Don’t It Feel Like Heaven” is a sweet tune, and the album it comes from, Welcome to Riddle Bridge, is pretty nice, as well.

Let’s Do It Again was a Curtis Mayfield-penned soundtrack that the Staples Singers took on. It brought them their last hit in the title tune (No. 1 for one week) and an album that’s a good audio postcard from the time when funk/R&B was still a vital genre, even though alert listeners could hear the beginnings of its mutation into disco.

“Midnight Flyer” is a pleasant if inconsequential album track from a group that was finding itself irrelevant. From 1969 into 1975, Three Dog Night had been a hit machine, putting twenty-one records into the Top 40, eleven of them in the Top Ten. The last of those, “’Til The World Ends,” had come from Coming Down Your Way, but had gone no higher than No. 32. And while the group’s first nine albums had all made the Top 40, Coming Down Your Way was the second Three Dog Night album in two years to fall short.

Urban Renewal might be the best album that Tower of Power ever put together (although I imagine some folks might put their money on Back to Oakland). And “(To Say The Least) You’re The Most” shows off singer Lenny Williams and one of the tightest and funkiest horn sections to ever record a tune. Just nice stuff.

By 1975, El Chicano was another group that was past its peak, and The Best of Everything (not a hits album despite the title) was a little limp. Still, “Primavera” is a nice tune with a little bit of that Latin tinge that made El Chicano memorable.

Hoping To Hear One From The List

June 20, 2012

Originally posted May 11, 2009

More than a year ago, on the Saturday when I would see Richie Havens in concert, I shared here a list started long ago of specific songs by specific performers that I hoped to see live. While it had never been written down until the day of that post, the list was something I’d started in the spring of 1972. My sister’s 1971 Christmas present to me had been two tickets to any concert I wanted to see in the Twin Cities. Eventually, I chose to go see Joe Cocker at the now-razed Metropolitan Sports Center. (He had two opening acts that evening: Dr. Hook & the Medicine Show and Bobby Whitlock.)

On our drive to the Cities, Rick and I talked, of course, of what we wanted to hear Cocker perform. My main selection was “Delta Lady.” I think he was hoping for “Bird On The Wire.” And we began to talk about what songs we’d like to hear by other performers, were we ever lucky enough to see them in concert. Since then, I’ve kept a list in my memory of such hopes.

As a caveat to the list, I wrote here in January of 2008:

“I should note that there are many other performers I’d like to see, many of them more current than those here on this list. Some that some immediately to mind are Joss Stone, Tift Merritt, Grace Potter & the Nocturals, David Gray, Colin Linden, Ollabelle and the Dixie Chicks. But I have no one song that immediately comes to mind for those acts.”

And then I shared, in no particular order, the song/performer pairings that have been on my list over the years. The notes in parentheses indicate the dates and places where in fact, I heard that entry.

“Honky-Tonk Women” by the Rolling Stones (October 4, 1973, Århus, Denmark)
“Like A Rolling Stone” by Bob Dylan (July 1989, St. Paul, Minnesota)
“Yesterday” by Paul McCartney (September 2002, St. Paul, Minnesota)
“Layla” by Eric Clapton
“American Pie” by Don McLean (Early 1987, St. Cloud, Minnesota)
“Born to Run” by Bruce Springsteen
“That’s The Way God Planned It” by Billy Preston (Spring 1973, St. Cloud, Minnesota)
“Imagine” by John Lennnon (No longer possible)
“Into the Mystic” by Van Morrison
“Angel of Harlem” by U2
“The Weight” by The Band (Summer 1994, Minneapolis, Minnesota)
“While You See A Chance” by Steve Winwood
“Love at the Five and Dime” by Nanci Griffith
“Ohio” by Crosby, Stills, Nash & Young (Summer 1974, St. Paul, Minnesota)
“Delta Lady” by Joe Cocker (April 1972, Bloomington, Minnesota)
“She Was Waiting . . .” by Shawn Phillips (Early 1973, St. Cloud, Minnesota)
“Done Too Soon” by Neil Diamond (September 1971, State Fair, St. Paul, Minnesota)
“The Thrill Is Gone” by B.B. King (August 1995, State Fair, St. Paul, Minnesota)
“Follow” by Richie Havens

When I shared that list, I was hopeful that I’d be able to enter a date and place for Havens’ “Follow.” But faced with a vast catalog from more than forty years of recording, Havens bypassed “Follow” in the course of a remarkable concert. Was I disappointed? Only a small bit.

Come sometime this evening, I should be able to add a date and place after “Born To Run” in the list above: The Texas Gal and I have tickets to see Bruce Springsteen & The E Street Band tonight at St. Paul’s Xcel Energy Center. We’re pretty high up – in the highest section of the arena, I think – but we’re on the side of the stage and in the front row of our section. We’ll be pretty much directly across the arena from where we sat when we saw Paul McCartney, and those were pretty good seats.

So here, in anticipation, is a selection of five covers of Springsteen songs and his own idiosyncratic alternate take on “Born To Run.”

A Six-Pack of Springsteen Covers (Almost)
“Atlantic City” by The Band from Jericho [1993]
“Because The Night” by the Patti Smith Group from Easter [1978]
“4th of July, Asbury Park (Sandy)” by the Hollies from Another Night [1975]
“Love On The Wrong Side Of Town” by Southside Johnny & the Asbury Jukes from This Time It’s For Real [1977]
“This Little Girl” by Gary U.S. Bonds from Dedication [1981]
“Born To Run” by Bruce Springsteen (live) from Chimes of Freedom [1988]

The Price Of Procrastination

June 1, 2012

Originally posted April 15, 2009

I’m one of those folks with a tendency to put off unpleasant tasks. That means that, in the years prior to the Texas Gal’s arrival, April 15 would find me scrambling about to file my tax returns.

I’d generally prepare my returns the evening before, having delayed as long as I could. And the day of the 15th would find me spending my breaks and my lunch hour making photocopies of my returns and forms and getting all of those into the appropriate envelopes. And then I’d drop the envelopes off at the nearest post office on my way home from work.

I imagine that with some effort, I could have been a lot more organized and life would have been a lot less stressful during the middle of April. I tried, year after year. But I never seemed to be able to pull it together. I’d get my forms and everything assembled in January and let the papers sit in a pile on my desk at home until I could put the tasks off no longer.

The Texas Gal, thankfully, has a different approach, and that, of course, has changed things for me. We generally pull our tax information together during the first week of January each year, and I would guess that since 2002, we’ve filed our returns no later than January 7. As a result, I no longer dread the approach of April 15. And as I watch the folks on the news reports line up at the post office late this evening, I will know that there, but for the Texas Gal, would wait I.

A Six-Pack for April 15
“Before It’s Too Late” by Joe South from Don’t It Make You Wanna Go Home? [1969]
“Let the Dollar Circulate” by Billy Paul from When Love Is New [1975]
“Pay To The Piper” by the Chairmen of the Board, Invictus 9081 [1970]
“Taxed To The Max” by Tower of Power from Souled Out [1995]
“Poor Man’s Plea” by Buddy Guy & Junior Wells from Buddy Guy & Junior Wells Play The Blues [1972]
“Taxman” by Bill Wyman’s Rhythm Kings from Songs From The Material World: A Tribute To George Harrison [2002]

Some of these have no connection with the travails of the day except for their titles. The Joe South tune, for example, is one of those “Let’s get together” anthems that were prevalent in the late 1960s, and it happens to sound pretty good, even if its lyrics are a bit simple. The Buddy Guy/Junior Wells tune is a great piece of honking blues, and the Tower of Power track is – typically – a hot piece of horn-heavy R&B.

I’m not sure how I came across the Billy Paul tune. I must have found a rip of When Love Is New and then deleted most of it, because this the only track I have from the album. And from what I can tell, the track wasn’t released as a single at the time. One source I consulted showed that the Paul track was released on a single with a track by Harold Melvin & the Blue Notes, but I think that was a later release. (If anyone knows differently, let me know, please.)

“Pay To The Piper” was, however, released as a single, and went to No. 13 around the time 1970 turned into 1971.

I wondered if I should post the original “Taxman” from Revolver, but I decided that it’s so well known – and so available – that there was no point. The Bill Wyman version is pretty good.

Just Like A Baseball Bat . . .

May 16, 2012

Originally posted April 3, 2009

Every once in a while, as I follow sports, I come across an athlete talking about pulling a hamstring. “It was like being hit with a baseball bat in the back of my thigh” is a description I’ve read – or heard – many times. And I’ve thought two things:

First, that has to be overstatement. And second, even if it is overstatement, it can’t feel good.

Well, I learned late last evening that it’s not overstatement. And no, it doesn’t feel good.

I was helping the Texas Gal bring some things inside the house. As I turned to go up the short staircase that leads into the kitchen, something happened to my right leg. And it did in fact feel like I’d been hit with a baseball bat squarely in the back of my thigh. I grabbed at my thigh as I shouted and fell, my momentum leaving me sprawled on the kitchen floor with the cats backing away in alarm.

After a few minutes, it was obvious I’d done some severe damage, as I couldn’t straighten my leg without a lot of pain. The Texas Gal helped me get some shoes on, and we headed to the emergency room. Two hours later, we were on our way home, stopping at a pharmacy along the way.

The ER doctor told me that I managed somehow to put a good-sized tear in one of the muscles in the back of my thigh. The good news was that the tear came in the middle of the muscle, not where it attaches to the bone at either end. That, I’m sure, would have meant surgery. As it is, I’m on a regimen of pain killers, muscle relaxants and rest.

I can hobble around the house, and my thigh will heal. What with the pain killer, though, the world is in soft focus today, so I’m not going to write much more. We’ll let the following songs tell the tale.

A Six-Pack of Hurt
“Hurt So Bad” by Little Anthony & the Imperials, DCP 1128 [ 1965]

“It’s Gonna Hurt So Bad” by Doucette from Mama Let Him Play [1977]

“Bet No One Ever Hurt This Bad” by Linda Ronstadt from Hand Sown…Home Grown [1969]

“The Big Hurt” by the People’s Choice, TSOP 4769 (B-Side) [1975]

“It Hurts To Be In Love” by Marcia Ball, Angela Strehli & Lou Ann Barton from Dreams Come True [1990]

“It Hurts Me To My Heart” by the Soul Children from Genesis [1972]

The Little Anthony track is one of the classics of Brooklyn soul/R&B, with Anthony weeping and wailing above a maelstrom of strings and what sounds like tympani. The group’s fifth Top 40 hit in a string of seven hits that began in 1958, “Hurt So Bad” went to No. 10 in early 1965.

Doucette was a pop rock group from Quebec, Canada, that released a couple of decent albums in the late 1970s. Led by Jerry Doucette, the band is one I’d not heard about until a little bit ago when a fellow blogger mentioned it in an email. I went digging and found a rip of Mama Let Him Play and gave it a listen. To me, it falls into the Pablo Cruise/Little River Band category, with lots of smooth edges and tight harmonies. There are times when I prefer a few more rough edges, yes, but there are also days when Seventies smooth is quite nice.

“Bet No One Ever Hurt This Bad” came from Linda Ronstadt’s first album, during a time – says All-Music Guide – when Ronstadt began “to abandon the folk leanings of the Stone Poneys for a relaxed country-rock approach.” According to the liner notes for The Best of Linda Ronstadt: The Capitol Years (which gathers her first three albums and some extra tracks on two CDs), Ronstadt and producer Chip Douglas didn’t really find the country sounds Ronstadt was seeking. Nevertheless, she did a good job on “Bet No One Ever Hurt This Bad,” a Randy Newman tune.

“The Big Hurt” by the People’s Choice was the B-Side to the group’s single, “Do It Any Way You Wanna,” which went to No. 11 in the summer of 1975. Produced by Leon Huff, “The Big Hurt” sounds to me more like Chicago or Memphis than Philadelphia. It’s still good, though.

“It Hurts To Be In Love” is a track from a glorious grouping of three bluesy women singers: Marcia Ball, Angela Strehli and Lou Ann Barton. The entire Dreams Come True album is worth checking out, as the three women still hew to the roots while displaying some remarkable harmonies, backed by a band led by Dr. John (and including Jimmy Vaughn). Lou Ann Barton’s music has showed up here (and some will be reposted this month), but if anything by either of the other two women has showed up here, it’s been only in passing. That’s likely going to change. (Thanks to azzul for this one!)

The Soul Children have popped up here a couple of times before. A two-man, two-woman vocal group, the Children recorded several albums for Stax in the late 1960s and early 1970s. A slow and moody ballad, “It Hurts Me To My Heart,” is pretty representative of the Genesis album, which to my ears was a bit more subdued than the rest of the group’s body of work.

Repost:
Here’s an album that several people have been anxious for me to offer again, Coming Back For More by William Bell. The original post is here.

Coming Back For More by William Bell (1977)

EW&F, ZZ Top & The Band

May 16, 2012

Originally posted April 2, 2009

Off to YouTube!

Looking for videos of songs recently posted, the first thing I came across was labeled as a 1975 performance of “Mighty Mighty” by Earth, Wind & Fire:

Here’s a live performance of “La Grange” that ZZ Top evidently did for NBC (probably on The Tonight Show with Jay Leno sometime around 2005 although that date is pretty iffy):

I’m I’m not sure of the date of this next clip, but it’s got to be from sometime in the 1970s. It looks to be the original line-up of The Band – with some help from a few other folks – doing “Rag Mama Rag.” Levon Helm takes up his mandolin and Richard Manuel sits down at the drum kit. I can’t see Rick Danko, but I assume he’s just back in the shadow.*

I think that tomorrow, along with whatever I happen to write about, I’ll begin a series of reposts of albums that people have requested over the past few months. If you’ve asked for one and I don’t get to it during April, send me a gentle reminder. Thanks.

*After I posted this, I got a note from reader Jenaclap telling me what I should have spotted right away: Rick Danko in front on the acoustic guitar. I was too busy looking in the shadows for the bass player. And my dating of the clip was in error as well: The absence of Robbie Robertson (and the presence of other players) means that this clip is from the time of the first reunion of The Band from the early 1980s to 1986, when poor Richard Manuel killed himself. Note added shortly after original posting and revised May 16, 2012.

Edited significantly on archival posting.