Archive for the '1970s' Category

25
Aug
18

David Bromberg “Demon in Disguise”

I probably would have ignored this one but I just heard a conversation with David Bromberg on WTF podcast—and I really liked him—so this was a good chance to get some background via a recording he did; I have no idea of his discography, but this record sounds remarkably confident and alive. Some of the songs are credited to him, some are traditional and arranged by him, and then there is Jerry Jeff Walker’s “Mr. Bojangles”—a live version, with DB telling a story—in the middle of the song—about the origin of the song—which reminded me of another time I heard a recording with someone telling the story of that song—in a live version—was it possibly this one? Or am I just tripping?

Much of this record I really like, especially songs where he is singing. He has a kind of unlikely and unique singing voice. I don’t like some of the more traditional stuff that feels more serious or reverent (not that that was the intention, it just comes off that way, to me). For some reason fiddle music just really bugs me—I guess maybe due to a long childhood of TV crap, and whenever you’d see someone playing fiddle music their eyes would be bugging out like some insane hillbilly, and it always seemed like someone would have to yell “Hoedown!”—like announcing it, as if you don’t know. It’s kind of like if someone is having sex and one person has to keep yelling, “We’re fucking! We’re fucking!” I suppose some people could be into that, but me, personally, I’m a little more reserved.

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05
Aug
18

Link Wray “Link Wray”

Maybe this is the first Link Wray record, as it doesn’t have a title other than “Link Wray”—though, didn’t he put out records in the 50s?—and this looks seriously 70s, but there’s no date on it (the only thing I’m going to look up, once I’m reunited with the internet, is the dates each of these records came out). Anyway, here is another reminder to look more deeply into the early work of people you feel you have an idea of what they’re about; I’ve always been a Link Wray fan based on the few songs I know, and his sound, but really know very few recordings or anything about him. This record is on Polydor so he must have been well known enough, plus the cover is unusual in that it’s his head in profile, but die-cut along his face, and it opens that way. I thought the record companies reserved the fancy, die-cut covers for well-established gold sellers. Upon opening, a small photo is revealed—of a ramshackle structure, crudely painted with the sign, “Wray’s Shack 3 Track”—which is, according to the credits, the studio where the record was recorded, in Accokeek, Maryland. It would have been interesting to have been a neighbor to Link Wray and “The Family”—the credited musicians, several of which have the last name Wray. One name, Steve Verroca, plays drums, and also has half the songwriting credits. It makes me wonder when, if, and how the decision was made to call the band “Link Wray” and not something more band-like, such as “The Family” or “The Accokeek Noise Ordinance.”

29
Jul
18

Bob Dylan “Street Legal”

I’ve never heard this record before and I’m guessing, but not sure, that when it came out in 1978—the year I graduated from high school and was avidly reading Rolling Stone magazine—it got a less than favorable review—or maybe I was just over Dylan by that time, temporarily—or maybe his previous album was too weird and inscrutable—who knows. Anyway, the first thing that’s striking to me is that in the live performance, black and white, photo on the back, he looks just like Freddie Mercury—did people, when this record was released, talk or write excessively about about how he looks just like Freddie Mercury? It looks like a picture from the Renaldo and Clara/”Rolling Thunder Revue” era, but wasn’t that years earlier? Anyway, it’s just a bit of a mystery. On the front cover there’s a picture of him standing in a doorway wearing some really awful jeans and a black leather vest, looking left, down the street like he’s waiting for someone, or a bus.

“Baby Stop Crying” is a nice song, pretty soulful (though the sax break does sound a little St. Elmo’s Fire (my shorthand for lameness). I just noticed the photos on the inside sleeve, two out-of-focus, B&W photos of Bob and a dark skinned man (really wish I had the Big I to look this up) at what looks like a really great tea shop. Bob’s wearing that polkadot shirt you see in a lot of photos (I’m assuming he had more than one, but who knows). It almost looks like a much earlier photo. Can you date Dylan pics by his shirts?

24
Jul
18

John Prine “Diamonds in the Rough”

This might be the first John Prine record I bought, many years ago, though I’m pretty sure I’d heard John Prine via some other source first, though I can’t remember now, when or where. Anyway, I had bought a thrift-store copy of this one, with a water-damaged cover, and I didn’t expect much, and by the time I got to the song “The Frying Pan” I was hooked and it became regular rotation listening, and I even learned to play some of the songs just because I liked them so much—or at least, “Yes I Guess They Oughta Name A Drink After You”—which has to be about the best simple tavern crowdpleaser I can imagine. There is some good stuff on this record, indeed diamonds—“Worth its weight in gold,” as Marilyn Monroe says in Some Like it Hot. The picture on the cover of, I guess, a fairly young John Prine, is during a live show bathed in that horrible red performance light, and he looks like someone else, though I’m not exactly sure who—another musician, an actor, or a friend, I can’t place it, but I’m glad I got this record when I did, even though it was probably about 30 years after it came out, because it’s made my life better.

18
Jul
18

Fleetwood Mac “Mystery to Me”

This is a record that should be woefully familiar to record collectors because its heinous cover will at some point assault you during your journeys; it’s a giant stoner drawing of some kind of baboon eating a cake, and it folds out to show him in conversation with an equally hideous, bald, bearded, scholarly man. I don’t know what it all means, but being hungry, the cake with the candied red and green cherries actually looks pretty good. The inside photo is much nicer, of five hairy hippies in a pyramid huddle looking slightly upward at the camera. I recognize Christine and John McVie, the “Mac” part of the band, and Mick Fleetwood, who I believe is like eight feet tall; he’s one of those guys who makes whatever drums he’s playing look like a kids’ drum-set, and like he should probably be out slaying dragons instead. The other two are the guitarists, Bob Welch and Bob Weston (I wish they were called Bob W.1 and Bob W.2) who I don’t recognize, even though I do remember a prominent Bob Welch solo record from, I think, the Seventies, with him on the cover with those big, graduated rose lens glasses, and an open shirt, generally reeking of coke. Like many people, I first came upon Fleetwood Mac with those two records with black and white covers (I think) around the time that Stevie Nicks and Lindsay Buckingham became prominent members (I think—it’s been a few years since I’ve gone back to those records, though songs from them will be over-played into the unforeseeable future).

Actually, I’m kind of glad I’m in this cabin in the “North Woods” because I could easily go into a Fleetwood Mac rabbit hole if I had free use of the internet—and I could find the marijuana I know is around here somewhere. In fact, had they known when they formed the band, Rabbithole would have been a better name. Was this the band that had two couples that eventually broke up and dated each other? 1973 was a good year for music and movies, one of my favorite years, but there is not a lot on first listening to this record that’s producing mental notes to go back for a second listening; it’s already sounding like a chore, and choosing between this and doing the dishes… About half the songs are written by Bob Welch, and he is also singing on half or more—I’m assuming that’s him. Even when Christine McVie sings there isn’t much of a glimmer of the later Fleetwood Mac (to me, I’m sure purists would disagree). I wonder if someone has written a decent biography of the band—that might be kind of fascinating. Hey, here’s a cover song, “For Your Love”—which I recognize, of course, from the Yardbirds; I’m afraid it’s weak, especially the wanky guitar. Oh well, some paths in the woods circle right back to the cabin after about five minutes and you realize you’d rather just be making pancakes.

20
Jun
18

Kinky Friedman “Kinky Friedman”

This is a true story. I went through a Kinky Friedman phase when I was living in New York. I read one of his mystery novels, and liked it a lot, and then read some articles about him, some interviews—maybe there was some particular thing I read or watched that I can’t remember now. Anyway, I didn’t go as far as seeing a live show or buying a bunch of old records, but I did find his website and order a kind of gift set of Kinky Friedman cigars, coffee, and coffee mug. He’s really into all that good stuff. So, one of the cigars was one of those big-ass killers, and I saved it for a particular evening, smoked it, and then had a horrible pain in my lower back, on one side, that lasted for like a year. I was too afraid to go to a doctor and admit I’d smoked a Kinky Friedman cigar and that’s what brought it on. Can you die from smoking one cigar (that isn’t an exploding assassination cigar, I mean)?

This record from way back in the gold year of 1974 (it may be his first, given the title) is pretty straightforward, like here’s a guy with songs he wants you to hear. There’s a picture of him on the cover either relighting a cigar or looking at a text on his flip-phone; neither option makes much sense, as I don’t think he’s a guy likely to let a cigar go out, unless of course he going on about some subject he’s more passionate about than cigars, which, who knows? The back cover has him holding a cigarette. An unrepentant smoker, as of this writing Kinky Friedman is still alive (though there are still three days left in 2016, so I’m nervous saying that). (It’s now one day before Summer 2018, and if we’re to believe Internet, he’s still puffin’ away!) The songs feature some fine musicians, but I think the lyrics are the thing, so I’m going to have to listen closely. A couple are too jokey—this was before the time people had discovered that humor isn’t best underlined by goofy accompanying sounds.

08
Jun
18

Sly & The Family Stone “Greatest Hits”

I don’t think I ever owned a copy of earlier Sly and the Family Stone records, but I had this 1970 greatest hits record, it feels like, all my life, and everyone had it, and you know all the songs—they were on the radio, they were on TV, and they’re still being played here and there enough that you might hear one on any day somewhere and it wouldn’t be a surprise. But if you put the vinyl record on your stereo and listen to it closely, like I’m doing, it actually sounds fresh, since the reality of the music is different from my memory—it’s actually rawer, more innovative, and generally more interesting than the version in my memory. Particularly the songs: “Everybody Is A Star,” “Life,” “You Can Make It If You Try,” “Stand!”—really, all of them. No matter how well you know them in your sleep, it’s amazing how much better they sound “in person” (just you and your hi-fi).

I remember this time in junior high or high school when Sly and the Family Stone were on some variety TV show the night before, and everyone was talking about it at school the next day. Imagine that! There was some kind of confusion when the band took the stage, because then, Sly, or all of them, left the stage, I think, before coming back and playing. I don’t know what was going on, and it might be possible to find a video of that now, and even people discussing it, but I remember that as a very unique, very real moment, that really separated itself from the usual, over-rehearsed bullshit. He seemed like he had a great sense of humor, was having lot of fun, and had great style. This record has a just terrible cover, you’ve seen it, but over time it’s become kind of a classic, I guess. But the back is better, just a huge picture of Sly with a red knit hat and the best teeth I’ve ever seen. And the album cover folds open (and there are some liner notes, which I don’t remember being there—pretty good, too) and there is a giant vertical picture of the band, kind of out of focus, grainy, weird perspective, and Sly with those great boots—really, one of the best band pictures ever.




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