Posts Tagged ‘Tom Waits & Crystal Gayle’

A Baker’s Dozen From 1982

May 6, 2011

Originally posted August 22, 2007

When I settled on 1982 as the year for this morning’s Baker’s Dozen – after dabbling with the ideas of 1963 and 1964, two other years still unexplored – I wasn’t entirely hopeful.

I know I listened to the radio during the year – most likely to the station in the Twin Cities that at the time played “the hits of the Sixties, the Seventies and today” without playing all of the Top 40. Nothing very rude or raucous came out of the station’s studios. Not being a radio guy, I’m not sure what the format was called; I think today it would be called “Adult Contemporary.”

I thought about 1982 while the RealPlayer was sorting mp3s, though, and I realized that I couldn’t independently recall hearing a lot of music during the year. In fact, only one song came to mind, “Wasted On The Way” by Crosby, Stills & Nash, which I recall hearing as I drove through Iowa on my way to check out the graduate school at the University of Missouri. And I thought it was odd that I would remember so little music; after all, music has been one of the main foundations of my life. And on a practical level, a good part of a reporter’s workweek is spent driving to and from things, and I always had the car radio on. And the radio frequently provided the background to evenings at home, as we didn’t watch much television. But what did I hear? I really don’t recall.

Oh, I know what some of the music from 1982 was, having dug into it later and filled in the record collection with things I missed. But I must have been on autopilot that year, for I have no hooks of memory on which to hang any songs.

Still, the Baker’s Dozen is pretty decent selection:

“It’s Raining Again” by Supertramp, A&M single 2502

“Walking on a Wire” by Richard & Linda Thompson from Shoot Out The Lights

“Marina Del Rey” by George Strait, MCA single 52120

“Take A Chance With Me” by Roxy Music from Avalon

“Thank You For The Promises” by Gordon Lightfoot from Shadows

“Still In Saigon” by the Charlie Daniels Band, Epic single 02828

“Straight Back” by Fleetwood Mac from Mirage

“Up Where We Belong” by Joe Cocker & Jennifer Warnes from the soundtrack to An Office and a Gentleman

“Cleaning Windows” by Van Morrison from Beautiful Vision

“I Can’t Survive” by Jimmy Johnson from North/South

“A Good Man Is Hard To Find (Pittsburgh)” by Bruce Springsteen at the Power Station, New York

“Take Me Home” by Tom Waits and Crystal Gayle from the soundtrack to One From The Heart

“Roll Me Away” by Bob Seger, Capitol single 5235

A few notes on some of the songs:

Supertramp was in the middle of a pretty good run when the jaunty “It’s Raining Again” was released. It was the British group’s seventh Top 40 hit and the sixth to reach the Top 20 in a three-year period. The song reached No. 11, but it was the band’s last stay in the Top 20.

“Walking on a Wire” comes from Shoot Out the Lights, the last project that Richard and Linda Thompson released before they divorced. Listeners might assume that the edginess of the material came from the tensions of the pending split, but All-Music Guide notes that most of the material was at least a couple years old. Nevertheless, there is an edge to Shoot Out the Lights that isn’t as pronounced in the couple’s earlier work. “Walking on a Wire” is typical, but the entire album is worth a listen.

I don’t have a lot of George Strait music, but for some reason, I find that “Marina Del Rey” grows more and more charming every time I hear it. Maybe it’s the dissonance of the place: One doesn’t think of a country boy taking his vacation in Marina Del Rey. Someplace on a southern river or the Gulf Coast seems more likely. But “Marina Del Rey” works, a judgment with which country listeners agreed in 1982: the record reached No. 6 on the country charts.

Gordon Lightfoot’s “Thank You For the Promises” is one of those songs that can nearly always move me to tears. Much of the album from which it comes, Shadows, is somber, and this track is typical of those parts of the record.

Jimmy Johnson is a native of Mississippi and brother to soul/R&B singer Syl Johnson. North/South, the album from which “I Can’t Survive” comes, is a nice serving of third-generation Chicago blues.

The last two songs, as stylistically different as any two can be, are a fitting conclusion, especially since it’s a random pairing. Both of them – “Take Me Home” overtly and “Roll Me Away” more implicitly – are about finding home, that physical and emotional place where one can rest.

Back To The Jukebox

February 9, 2010

I think that every once in a while as I explore the Ultimate Jukebox, I’m just going to let the selections go on stage without an opening act.

A Six-Pack From The Ultimate Jukebox, No. 3
“Baby It’s You” by Smith, Dunhill 4206 [1969]
“I’ll Be Long Gone” by Boz Scaggs from Boz Scaggs [1969]
“All Right Now” by Free from Fire & Water [1970]
“Guilty” by Bonnie Raitt from Takin’ My Time [1973]
“Take Me Home” by Tom Waits & Crystal Gayle from the One From The Heart soundtrack [1982]
“Under the Milky Way” by the Church from Starfish [1988]

I’ve written before about Smith and “Baby It’s You,” and I know my blogging friend jb at The Hits Just Keep On Comin’ has as well. So without digging into my Word files, I’m not sure whether a reference held in memory will be mine or his or maybe someone else’s. Either way, the record – a cover of the Shirelles’ 1962 hit – was a tasty and thick slice of organ-dominated pop-rock, laced with chunky guitar and topped with the sweet and gritty voice of Gayle McCormick. The record – pulled from the album A Group Called Smith – went to No. 5 in the autumn of 1969, the only hit for the Los Angeles-based band. The video I found shows a television performance on which, I believe, McCormick sings live to a canned background. Key lines: “It doesn’t matter what they say. I know I’m gonna love you any old way.”

For most people, I suppose, the highlight of Boz Scaggs’ self-titled 1969 album, his first solo work after his years with the Steve Miller Band, was the long blues number “Loan Me A Dime,” on which he, the Muscle Shoals crew and Duane Allman simmer for a long time and finally boil over. But every time I listen to Boz Scaggs, that astounding set of performances is challenged for the top spot by the record’s second track, “I’ll Be Long Gone,” which starts in a contemplative mood before shifting into its own up-tempo statement of purpose. Key lines: Good luck with your path/But it wasn’t built to last/Or we might take it differently.”

In an art form where macho postures abound – and they’ve done so in every generation, from the leers of Jerry Lee Lewis and Chuck Berry onward – one of the more blatant macho statements was Free’s “All Right Now,” which came ripping out of radio speakers during the late summer and early autumn of 1970 on its way to No. 4.  Dave Marsh nails the record perfectly in The Heart of Rock & Soul when he calls it “Cock rock extraordinaire,” noting that “All Right Now” is “the apotheosis of the form, as unrelenting as a hard hat’s street corner come-ons.” And yes, the narrator’s approach to the young lady in question is brash and clumsy and self-involved. But you know she had to love the guitar hook and the chorus. Even if she did nothing else with the guy, she had to play air guitar and sing along with him. Or maybe not. Key lines: “She said ‘Love?’ Lord above, now you’re tryin’ to trick me in love.”

As I’ve noted before while writing about Bonnie Raitt’s cover of Randy Newman’s “Guilty,” the opening chords by pianist Bill Payne always make me slow down, close my eyes and travel in time. I first heard the song through the wall of the hostel room where I lived during half of my college year in Denmark, as one of the girls in Room 6 had the song on a mixtape someone had sent her from home. And in the many years since then, no matter where I am, the song places me for at least an instant in my room in the middle of a winter night with the muted sounds of “Guilty” seeping through the wall with its mix of sadness and resignation. I heard the song so frequently during my four-month stay at the hostel that Raitt’s recording, as I wrote once, “took on forever an aura of beer-soaked regrets and midnight grief.” That’s okay, though. We need to recall our grief and regrets from time to time. They are, after all, a large part of what has made us who we are today. And for me, as I would hope it does for all of us through time, the grief has eased its way to bittersweet, and the song triggers these days nothing more than a half-smile at how young we all were. And the recording – which includes among others Lowell George on slide guitar and New Orleans pillar Earl Palmer on drums – stands up well after thirty-seven years, too. Key line: “It takes a whole lot of medicine for me to pretend to be somebody else.”

I’ve never seen the Francis Ford Coppola film One From The Heart, a lack in my experience that will have to be remedied some day. But if the film is as good as the soundtrack that Tom Waits composed and then recorded with help from Crystal Gayle, it’s a hell of a film. I first became aware of “Take Me Home” from its use in a CBS Television drama, The Brotherhood of Poland, New Hampshire, which had a seven-episode run in the autumn of 2003. At the end of one of the episodes, Mare Winningham sang the song to another of the cast members, spurring me to find out more about the song almost as soon as the show’s credits ran. I soon found Waits’ soundtrack and Gayle’s superb vocal on “Take Me Home” and then learned I needed to add the song to that list of tunes that can bring me to tears no matter what else is going on. Key lines: “Take me home, you silly boy/All the world’s not round without you.”

I imagine that the radio stations I listened to in Minot, North Dakota, during the spring and summer of 1988 likely played the Church’s “Under the Milky Way” at other times of the day, but when I hear the record’s moody jangle, it always makes me feel as if it’s sometime around eleven o’clock at night. I’m in my apartment on Minot’s north side, reading or petting a cat as the music brings me closer to ending another day in a season that was little more than a test of endurance. I imagine I heard the record a fair amount during that time, as it went to No. 24. And given that, it’s a pleasant surprise that I still like the record very much. Key lines: “Wish I knew what you were looking for/Might have known what you would find.”

(My thanks to Caesar Tjalbo for “Take Me Home.”)

– whiteray