You’ll Be Laughing

 

I have a playlist called Rock and Roll Heaven (it’s short; about a hundred songs).  The other night when I was listening to it, the first three songs that played were:

1. Be My Lover by Alice Cooper 
2. John Lennon’s cover of Stand By Me 
3. Permanent Waves by The Kinks 

 

Aside from reminding me that the 70’s wasn’t all disco and prog wankarama, what do they have in common?  Well, if you made a Venn diagram of the three artists, you’d find humour in the centre.

 

Sure, John gives one of his overpowering performances where you believe Every. Single. Word.  

 

But John was the funniest guy in a very funny band called The Beatles who were constantly amused that we all took them so seriously.  Alice Cooper could never be accused of taking himself seriously.  Ditto Ray Davies.

 

Yes, a lot of us are still hopeful that music can change the world, but it’s a healthy reminder that, although it might not be a joke, Rock and Roll really is just a bit of fun.

Strumming With The Rhythm …

My favourite rock and roll songs are:

1) Johnny B Goode 

2) Roll over Beethoven 

3) The last (rock and roll) song I heard by:

• The Beatles 
• Led Zeppelin 
• Tom Petty 
• AC/DC
• The Who 
• The Kinks 
• The Police 
• The Rolling Stones 
• Queen 
• U2
• Chuck Berry, obviously 

Oh, or Elvis, CCR, Buddy Holly, Springsteen, Dire Straits or ...

Set The Controls For The Heart Of The Sun

Every year when I see who is getting inducted into the Rock and Roll Hall of Fame, my reaction is either “it’s about time” or “why them?”  Maybe sometimes both.

This year, I got to thinking: what makes a band deserving anyway?  So I listed my 10 favourite bands and looked for the similarities.  Here’s the list:  The Beatles, Led Zeppelin, Cream, Deep Purple, AC/DC, Pink Floyd, Queen, The Who, The Rolling Stones, CSNY, The Kinks, Dire Straits, Jethro Tull, U2.

OK, that’s more than 10, but nevermind.  And I know your list is different and that’s cool.

But what sets them apart?  Genre/subcategory?  Nope.  Great musicianship?  Mostly, but not – with the greatest respect to those listed – universally.  Killer song writing?  It helps, I suppose.  Clothes?  Just kidding.

Maybe it’s a combination of curiosity and fearlessness.  I tend to think of my favourite artists as explorers, trying new ideas, poking around in unfamiliar places.  Even after they’ve forged their own sound and persona, there’s a restless drive to seek out the new and see what it has to offer.

That drive, that curiosity, that willingness to try something new is why the music of these bands still sounds fresh and exciting.  That spirit of exploration keeps the music young.

The Bad, The Ugly & The Good

When you’re listening to a song and it comes to the guitar solo, do you ever think to yourself, “Boy!  What a bad guitar solo, but it’s good.  I like it?” 

I’m not talkin’ about uninspired or lame.  I’m talkin’ awful, as in, “What’s he doin’?”

For me, a prime example would be Eight Miles High by the Byrds.  Every time I hear it, my initial reaction is, “Sheesh!  That’s the worst good guitar solo ever.”  But by the end of the solo, I’m thinking, “I dig it.  It really fits.”  Which is the ultimate compliment for a guitar solo.

Neil Young’s also excels at being not so good in a compellingly good sort of way.  As does Robby Krieger of the Doors, Dave Davies, John Lee Hooker, and a cat named John Lennon.

It’s a taste thing, of course.  But it’s interesting how we can embrace music that falls short of our personal standard of what constitutes “good.”  One more of the many mysteries of music.

Reelin’ In the Ears

Great songs hook you quickly, and reel you in.  This is nicely illustrated by Guitar World’s The 20 Best Guitar Intro’s of All Time.

Day Tripper, Sunshine Of Your Love, Smoke On The Water, Heartbreaker, You Really Got Me …  Hendrix, Van Halen, Chuck Berry, Hetfield, Keef …   Some of the best riffs of all time courtesy the greatest riff-meisters of all time.

Most great songs have a ‘hook,’ something that grabs you, catches your attention, somehow makes you feel like you already know the song even when you’re hearing it for the first time.  Sometimes that hook is a riff, but not always.  Sometimes the hook doesn’t show up until part way through the song.  But looking at GW’s list, I’d have to say the winning formula has got to be to snag ‘em right away.

Come On Baby The Laugh’s On Me

Dunno ‘bout you, but I always find a song with a bit of humour in it refreshing.  Not comedy.  Just songs that have a humourous line or two, maybe a bit of self-deprecation, something that says, ”Hey! Don’t take this too seriously.”

The Kinks were pretty good that way.  Ditto Steve Miller, Dire Straits, Ian Thomas and Joe Walsh (The Eagles, not so much).  Tom Petty excels at it.  George Harrison was a master.

Then there are the Stones doing country.  They seem to be screaming, “This is a joke!” to the point where it borders on comedy.  But they’re so darn good at it you’re not sure whether the joke is on you.

Anyway, even though rock ‘n’ roll itself – as Mark Shipper says – is a joke, it can cover some pretty heavy ground, so a little comic relief here and there is welcome.

The Rover

Wow.  I always knew Jimmy Page was a session player before he signed on with The Yardbirds and then founded Led Zeppelin, but wow.  Gibson’s Jimmy Page In The 60’s article shows you just how much this guy got around.

You’ve got your big names: Tom Jones, Van Morrison, The Kinks, The Who,  Donovan, Cocker … wow.

You’ve got your forgot-about-thems: The Southerners, The Nashville Teens, The Sneekers … who?

You’ve got your really?: Burt Bacharach, Petula Clark, Lulu, Herman’s Hermits … are you kidding me?

You’ve got your that-was-him?:  Gloria?  Here Comes the Night?  Can’t Explain?  As Tears Go By?  With a Little Help From My Friends? (Cocker, not Beatles) Hurdy Gurdy Man?  Did I say wow yet?

This guy was everywhere.  But the song did not remain the same.  He rambled on, met a few friends, went out on the tiles, slapped us upside the head with Good Times Bad Times, and carried us over the hills and far away.

ps – Leave My Kitten Alone?

A Well Respected Man

Gibson’s Dave Davies’ 10 Greatest Performances serves as a healthy reminder that The Kinks’ guitarist was about way more than You Really Got Me.

Yeah, that’s on the list, as is its sequel, All Day and All of the Night, as thats semi-sequel Tired of Waiting.

Pushed aside by the late 60’s blues rockers, The Kinks enjoyed an all-too brief resurgence ten years later, riding the punk/new wave thing for a few years.  Gibson’s list nicely demonstrates that The Kinks – and Davies – still had their chops, staying as – or even more – relevant than many of the 60’s British Invasion relics that were still out there. 

The tunes – and the guitar work – on Misfits and Low Budget are archetypal, no-holds-barred rock and roll.  The massive influence of You Really Got Me aside, for my money, this was their best work.  They rocked us around the dial.

Hey Mr. Fantasy

As the intro points out, the number of reunions that have taken place since Traffic first did it in 1970 are too numerous to list, but the Readers’ Poll on Bands That Should Reunite is still kinda sad.

We’ve got the usual suspects: Pink Floyd, Oasis, GNR, The Smiths, Genesis, The Kinks  …  but most of the write-ups say something like “it ain’t going to happen ‘cause xx hates yy” or “zz isn’t interested, so dream on.”

So it’s sad.  Or worse.  I mean, Led Zeppelin can’t reunite because their drummer is dead.  Ya, the 2007 show was amazing and Jason Bonham did a great job, but shouldn’t we move on?

Can’t we treasure what’s come before and still give a shot to the host of current acts out there that deserve a listen?  Isn’t “the new” what attracted us to those old acts in the first place?

Matchstick Men

January, 1968.  A psychedelic pop song called Pictures of Matchstick Men hits the charts, and man, was it trippy.   Vaguely drug-related lyrics, wah-wah guitar, and one of the early examples of the phaser effect.  OK, it was closer to bubble-gum than, say Cream or Led Zeppelin, but it was cool.

And then they were gone.

Fast forward to July, 1985.  Along with nearly two billion of my closest friends, I watched Live Aid.  The Wembley section of the concert opens up with this high energy bunch of British rockers who don’t seem to have left the 60’s.  They remind me of The Kinks, or any number of British Invasion groups I’d forgotten.  Didn’t catch their name, but they put on a great set.

And then they were gone.

Fast forward to early this century.  I’ve entered the digital age and I’m surfing the web looking for old tunes I once had on vinyl but can’t find on CD.  I go looking for Pictures of Matchstick Men, and find dozens of songs by Status Quo.  Oh!  That was that band from Live Aid.  Why didn’t I know about this?

From the 60’s through the 90’s, these guys reflected back a little of what was popular, but never wavered from their honest delivery of straight-ahead, stand-up, rock ‘n’ roll.

Funny how they never made it this side of the Atlantic.  They seem have a loyal following in the U.K. and elsewhere in Europe, and they deliver a similar brand of music to many other bands – British and American – that have made it and endured.  It’s a pity.  These guys should have been rockin’ all over the world.

Hail! Hail! Rock ‘n’ Roll

It doesn’t sound very confident, but Gibson’s 10 Greatest Covers if Chuck Berry Songs notes that, with the possible exception of the Beatles, no other artist has had as many of his songs covered by his peers.

Possible?  How about looking it up?  Or just offer an opinion, like this one: no other artist has had a bigger influence over rock and roll during the last 60 years. 

And Gibson’s list proves that.  The Beatles, The Stones, Bowie, The Kinks, AC/DC, Hendrix … they all paid homage to Berry’s iconic tunes.  And everything that followed pretty much stemmed from that list of bands.

Add the fact that Chuck Berry’s guitar playing is even more important, and you get one colossally influential cat.

Got to agree with the comments below the article, though.  Johnny Winter’s version of Johnny B. Goode should be on the list.

Riffs Across the Water

New Musical Expresses 50 Greatest Guitar Riffs of All Time is another reminder for me that my culture is more rooted on this side of the Atlantic.

Lots of the expected suspects:  Back in Black, Smoke on the Water, Sunshine of Your Love, Voodoo Child, You Really Got Me, Satisfaction, Cinnamon Girl, Johnny B. Goode, and so on.

Glad to see Rebel Rebel made the cut.  Ditto Song2, Get It On, and Seventh Nation Army.

Speaking of The White Stripes, the list serves up a reminder (to me, anyway) that lots of great guitar-based music continued to be made after 1990.  Not enough, but lots.

That said, and with no disrespect to some of the newer bands listed, but no Springsteen?  No Creedence?  No Dire Straits?  No Tull?  No Zeppelin?  At all?  No Beatles?  Really?   Shouldn’t they have, like 6 or 7 on this list?  Hello?

Also, I get the feeling that the list is trying too hard to spread the joy; one for the Stones, one for the Kinks, one for him, one for her, one for them, one for you, one for me …   Fine, but I’m not sure I Can’t Explain is the Who’s best riff, or The Streets Have No Name the best from U2.  And yes, Free Fallin’ gets the audience singing, but is it really Tom Petty’s best riff?

Maybe these tunes just went better with the pictures.  The NME articles seem to be more about the pictures.

Riffer Madness

Gibson’s Top 10 Riffs of the 80's serves as a great reminder that the 80’s weren’t as grim as all that after all.

Here’s the list:

  1.  AC/DC – Back In Black

  2.  Rolling Stones – Start Me Up

  3.  Ozzy Osborne – Crazy Train

  4.  Scorpions – Rock You Like A Hurricane

  5.  Def Leppard - Photograph

  6.  Judas Priest  - Breaking The Law

  7.  Michael Jackson – Beat It

  8.  The Clash – Should I Stay Or Should I Go

  9.  Guns N’ Roses – Sweet Child o’ Mine

10.  Rush – Limelight

But …

The preamble talks about riffs really coming into prominence in the 60’s, thanks to the likes of Dave Davies, Pete Townshend and Keith Richards.  Sure, but why is John Lennon never mentioned?  Davies and Townshend had a handful each.  Only Lennon could rival Keef in both quantity and quality.

And why is Jimmy Page not mentioned?  Hello?

Some other tunes with killer riffs I might have nominated include:

She Sells Sanctuary – The Cult

Money For Nothing – Dire Straits

She’s Waiting - Clapton

Would I Lie To You? – The Eurythmics

Paper In Fire - Mellencamp

Every Breath You Take – The Police

Refugee  - Petty

Sunday Bloody Sunday – U2

Owner Of A Lonely Heart - Yes

Sharp Dressed Man – ZZ Top

Pretty good list, reinforcing the immortal songs are built on three chords, the truth, a backbeat, and a great riff.

Tired of Waiting

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Why have I taken so long to write something about The Kinks?

Maybe that’s my pattern.  I noticed them during the first British Invasion, of course.  And they seemed to hold their own during the transition from rock ‘n’ roll to psychedelic.  I remember playing Well Respected Man in my band when I was in Grade 8.

But then they got pushed aside during the second invasion, displaced by the likes of Cream, Zeppelin, Hendrix and Deep Purple.  Yes, I know Hendrix was American, but he arrived from England, didn’t he?

Like so many others, The Kinks just didn’t register on the new hard rock scale.  After Lola, they were gone and forgotten.

Ah, but they weren’t gone.  While everyone was dicking around with Prog Rock and Metal and Disco, they were out there, staying (mostly) true to their rock ‘ n’ roll roots.  And somewhere in the late-ish 70’s, when Punk had said “enough!” and radio stations began giving airtime to the likes of Steve Miller, Linda Ronstadt and Tom Petty, The Kinks resurfaced.

And, longing as I was for something less pompous and silly.  I finally, really noticed them.  A string of great albums, beginning with Misfits, helped them ride the New Wave well into the 80’s when, along with rock ‘n’ roll, they faded again.  Having finally become a fan, I hoped they might resurface one more time during the all-too-brief Garage Band thing in the early 90’s, but to no avail.  That wish turned out to be a rock & roll fantasy.

Now they’re gone, un-rescued by the local village green preservation societies.  Maybe that’s a good thing, ‘cause at least we’re being spared one more fossilized group out on tour.  I dunno.

Listen: I know I’m doing some revisionist history here, suggesting The Kinks were fabulous from start to finish.  They disappeared from most of our radars in the late 60’s and early 70’s because their dabbling in the emerging styles was unsuccessful.  But when they went back to what they did well, they gave us a big batch of terrific music.

They may have been surpassed by others in terms of both impact and longevity, but there are times when I could listen to their music all day and all of the night.

The 45 Masters

Gibson’s 10 Greatest Singles Bands reminds you why radio used to be do darned good.  Here’s the list:

 1.  The Beatles

 2.  The Rolling Stones

 3.  Creedance Clearwater Revival

 4.  The Smiths

 5.  The Who

 6.  The Eagles

 7.  The Kinks

 8.  Oasis

 9.  The Guess Who

10. The Dave Clark Five

The singles from these bands makes for a pretty good playlist and a decent party.  With the exception of The Dave Clark Five, who understood their market and gracefully retired with the advent of FM radio, all these bands were pretty good on the album front too.  A key point, I think.

The article points out that although 45 RPM singles gave way to albums (then CD’s), in this digital age we’re back to buying singles.

Well, the singles were always there and were always the way to get attention and exposure.  So what sends the bands on this list apart?  For me, it’s a combination of volume and balance.  A multitude of hits to distinguish themselves from the one-hit-wonders, plus the ability to appeal beyond the constraints of the 3 minute pop song.  Each album had a few hits on it, plus some great album rock that proved these bands had depth.  That distinguished them from the pop groups who could churn out singles, but disappeared with the next fad.

The music from the bands on this list will not fade away.

Good News For Denver

I started playing with my U.S. music map, plotting where I thought some British artists would land. It looks like this:
 

I've already described how I thought The Beatles belonged in Ohio to reflect their

twin influences of Nashville and Motown, and how Cat Stevens sounds to me like a blend between Memphis and Motown.

The Stones? Chicago and Memphis, so they're neighbours of the Cat.

Eric Clapton's ancestors came from The Delta, Chicago and Texas, placing him somewhere on the Arkansas/Oklahoma border.

U2 and The Kinks split that Motown pop sensibility with a NY punk attitude, putting the somewhere in Penn state (OK, let's give U2 to Buffalo).

Bands like ELO and Queen blend that Motown pop gift with the Hollywood production thing (and jazz complexity), placing them squarely in the middle of the country.

Cream and The Animals blended their love of Chicago blues with a touch of California weirdness, making them natives of Colorado (there you go Denver). Zeppelin: about the same but with a pull from The Delta.

Deep Purple and Pink Floyd have lots of the Hollywood production and complexity, with a bit of pull from the eastern styles, which I guess lands them in the southwestern desert.

Neil Young lands in West Virgina (sorry Winnipeg), given an equal pull from Nashville and NY. And yes, I know he's Canadian.

Elvis Costello? A bit more NY punk.

Dire Straits? Nashville, Memphis, Delta.

Van Morrison: Memphis, Delta (maybe a bit of Motown?)

David Bowie was tough. NY punk and Motown pop pulling hard against California - landing him in Nashville of all places.

Hmmm ... there's a whole new twist on the idea of "Music City."

Jalopy Rock

Gibson has this list of 10 Great Garage Rock Bands.

The intro talks about garage rock as both primitive and singles-oriented (not self-contradicting?) while Wikipedia describes garage rock as raw and amateurish - and punkish.

To me, rock and roll is punkish by definition. Three chords and a message (even if it's only complaining about the cheerleader who doesn't notice you) - that's the essence of rock and roll. Everything else is just window dressing - or pretense.

Anyway, here's the list:
The Count Five
Flamin' Groovies
13th Floor Elevators
The Seeds
The Troggs
MC5
The Electric Prunes
The Kingsmen
The Stooges
The Velvet Underground

Note to Gibson: not sure I buy that Jimi Hendrix loved The Troggs. I always felt his whole Wild Thing thing at Monterey was a put on.

The point of Gibson's list is who were the pioneers, so it is a pretty good list. Otherwise I might have said: where's Camper van Beethoven, The Northern Pikes, The Smithereens, or even George Thorogood? Not that any of these sounded amateurish.

It's not that I admire poor production of sloppy musicianship, but to me it's the feel of the music, not the degree to which it sounds professional. It's about raw rock and roll. So, my list would also include Creedence, The Kinks, The Status Quo, even The Stones and Neil Young.

We're talking genres, right? And a genre is about style and attitude, not commercial success, and certainly not ability. I mean, if Keef isn't punk then I don't know who is!

Radio Gaga

Hey! Buzz, why don't you just stop listening to the radio instead of complaining about it? Try internet radio, use your iPod, give it up, get a life.

I know, I know. And I try - I do - but it's hard.

It's hard because radio used to be so darn good, so fresh, so exciting, so inspiring. I know I can't have it, but I want it back.

I also know two other things:
1) I'm not alone
2) The decline has been long and sad

Queen, The Kinks, and Tom Petty have all produced classics lamenting the neutering and lobotomizing of radio during its relentless slide into a commercialized corporate commodity. They also shouted, "It used to be so good! I want it back."

Internet radio is OK, and I do enjoy the power of choosing from my own iPod playlists, but ... make that four other things I know:
3) Culture is supposed to be a shared experience, not solitary
4) The decline of radio is a metaphor for bigger problems in our society

All too often, when I listen to the radio I realize that I am not being entertained. I am being managed, manipulated - ripped off. And it doesn't stop there. TV, shopping malls, cellphones, sporting events ... it's everywhere. Our souls have been stolen, and placed on spreadsheets and sales charts.

Something beautiful and priceless has been made cheap and ugly. Paradise has been covered over with asphalt. It makes me sad. It makes me angry.

Tom Petty says it best in The Last DJ:
   As we celebrate mediocrity all the boys upstairs want to see
   How much you'll pay for what you used to get for free

It used to be so good! I want it back.

Pop Boom Fizzle

One of the sub-genres you might have noticed missing from my music map is Power Pop.

And sure, it's just Pop, but it's heavier, right? More to the right to reflect that Metal, Blues Rock influence.

Well, it's omitted because I was never a fan. Foreigner, Journey, REO Speedwagon, Styx ... all those power ballads to me were just a compromise. I disagree here with Wikipedia, which describes Power Pop as Pop music with a Rock edge, and lists The Beatles, The Who and The Kinks as early examples. Fair enough, but I'm talking about the bands that specialized in rather soppy ballads that just happen to have a furry guitar in the song.

As for the compromise, guys wanted to listen to Pink Floyd and Led Zeppelin, but their girls wanted Lionel Ritchie and The Bee Gees. Foreigner was the middle ground. Good musicians and all, but so what if they had electric guitars? The songs were really Easy Listening, most of 'em ones on the outside of my Rock circle.

Overlaps and blends that create something new: exciting.

Ones that are a shotgun wedding to keep the peace: not so much.

Top Guitar Riffs of All Time

Now here's a list that's not from Rolling Stone.  Gibson's Top 50 Guitar Riffs of All Time

It's a good list, a can't-dispute-it list.  Here's the Top 10:

 1. Satisfaction.  Easily the most recognizable riff in rock.
 2. Smoke On The Water.  The second most recognized riff.
 3. Whole Lotta Love.  See?  This is a pretty good list!
 4. Iron Man.  OK, well it is very recognizable - if just a tad lame.
 5. Back In Black.  You bet.
 6. Smells Like Teen Spirit.  Relentless and powerful.
 7. You Really Got Me.  Way ahead of its time.
 8. Day Tripper.  Trippy.  Bluesy.  Perfect rock 'n' roll.
 9. Walk This Way.  Not a huge Aerosmith fan, but it's kinda funky, eh?
10. Sunshine Of Your Love.  One of those I-don't-care-I-still-think-it's-cool songs.

I like this list!