The 2nd Time Around

Some bands grab you right away, and never let go.  The Beatles, say.

Others are hard to ignore but take a little longer for you to appreciate.  For me, bands like CCR and The Band fall into that category.  They were there, in your face, all the time.  I just took a long time for me to realize how much I dug them.

Other bands, though, barley registered in my consciousness, and they sort of slipped on by while I was busy enjoying the music I was already committed to.  After all, you can only buy so much music, right?  Remember buying?

Anyway, every once in a while, I go back and explore bands that I had been vaguely aware of, but never really paid attention to.  Often, the rewards have been richly rewarding.

These days, I’m just as likely to put on Savoy Brown as Led Zeppelin.  And when I do, I always ask myself how did I miss these guys the first time around?  Humble Pie, Spooky Tooth and Status Quo are other bands I really enjoy now but more or less ignored until they were all but gone from the scene.

Your list will differ, but exploration definitely has its rewards.

The First Cut Is The Deepest

When you’re huge, you’re huge, and after you’ve been around a while, your entire body of work tends to morph into one, uh, huge, thing.

So it begs the question, who would we still view – years later - as huge if they had stopped after only one album?  Hendrix, Deep Purple, Led Zeppelin, The Cars, Buddy Holly  …

After that, I dunno.  Adele?  The Band?  The Byrds?  Crosby Stills and Nash?  Dire Straits?  Eagles?  Elvis?  Jeff Beck?  Steely Dan?  Maybe.

There are a lot of names from the rock pantheon missing, a lot of acts that took a couple or three albums to really establish a place in music history.  The Beatles, The Stones, The Who, U2, Pink Floyd, Chuck Berry, AC/DC …

Maybe we’d remember them all, but more as flashes in the pan than big influencers.  But not many artists nailed it the first time out.

The Second Time Around

Most of us have a few records/tapes/CD’s/MB of memory that are basically collecting dust because we:

1) Were blown away by someone’s debut album, and so …

2) Rushed to buy the second album, then went ‘oops!’

In many cases, it seems the more amazing the first album was, the easier it was to be disappointed with the second.  Maybe it goes back to the adage that bands have their whole lives to come up with that first album but no time for the next one.  Whatever the cause, a flop the second time around can be fatal.  Lots of one hit wonders probably released more than one record.  We just ignored them.

Rolling Stone’s 20 Best Second Albums provides a list of happy exceptions, albums that were every bit as good – or even better – than the debuts.  Examples from the list include second efforts by Neil Young, Springsteen, Radiohead, Elvis Costello, Dylan, Hendrix, Led Zeppelin, The Beatles, The Band, and Nirvana.

Yeah, I know these acts are all legendary and most people cherish their entire catalogues, but what if that second album had been awful?  Maybe then the legend is stillborn.  Or maybe the examples listed nicely illustrate why these acts became legends.  “You that was good?  OK, have a listen to this!”

The River of Troubled Water

A few posts ago I said that not many artists or groups deserve their own list, but that The Band was one of them.  I stand by that, but don’t dispute that Simon and Garfunkel also deserve their own Top Ten list.

So, without question, does Bruce Springsteen, but 100 Greatest Bruce Springsteen Songs?  I mean, he’s fabulous, and I have the utmost respect, but 100?  Isn’t that just a little excessive?  What about The Beatles or Rolling Stones, or Led Zeppelin or Eric Clapton or Buddy Guy?   Really, almost anyone with a big catalogue and lasting appeal.

Maybe they’re coming, those lists.

Back to Simon and Garfunkel, their impact was large.  Their appeal transcended generations and genres.  They kept the beatnik coffee house folk thing going until the Hippies came along and (all-too briefly) breathed new life into that scene.  That’s a pretty big accomplishment.

Powerful songs, terrific vocals, musical poetry.  “Tom and Jerry” definitely deserve their own list.  Too bad that, like so much other magic from the 60’s, it couldn’t last.

Big Pink Music

Not many bands or artists deserve their own list, but Rolling Stone was smart enough to do a readers’ poll on The Band’s Ten Greatest Songs, because they do (deserve their own list).

The songs included, like The Weight, It Makes No Difference, The Night They Drove Old Dixie Down, Up On Crippled Creek and Chest Fever, demonstrate the enormous range, power and influence these cats had.  Not to mention appeal.

I remember the tremendous buzz when Music From Big Pink came out.  I didn’t get it, because I was pre-occupied with the likes of Hendrix and Zeppelin and Deep Purple, but I remember many people treating it like one of those “everything is changed” moments. 

As the years go by, though, my appreciation deepens, and I understand why some of my other heroes like Eric Clapton and George Harrison dug them.  They were a drunkard’s dream if ever I did see one.

Songs From Kill Devil Hills

Have you ever read Old Weird America by Greil Marcus?  It’s ostensibly about Bob Dylan’s Basement Tapes, the sessions, the times, the world around and all that.

Ostensibly.

What it is, really, is the deepest exploration of American – and along with it – Western – culture I have ever read.

This book is deep.  Whole chapters interpreting the meaning of one song, entire groups of chapters explaining how the stories in those songs are universal, how they grew out of real-life experiences and events, and grew until they became legend, about how the legends actually matter more than the facts.

Large sections describing the beauty, the majesty, the viciousness and the shame of everyday life.  Deep insights questioning whether any of the history as we know it is real, at least real in comparison to the passions and follies of men and women – good and bad – sung about in the folk and blues of rural America.

And that music is what informs just about all the music you listen to, so whether or not you give a damn about Doc Boggs and Woody Guthrie and Leadbelly and Robert Johnson – or Bob Dylan or Led Zeppelin – that music is important.

I quickly lost count of the insights, epiphanies and “a-ha’s.”  Rock history, sociology, anthropology, musicology … this book is deep.

Eruptions

So Rolling Stone has its own list of 100 Greatest Debut Albums, proving once again that there is less room for controversy in a shorter list.  Here’s their top 10:

Beastie Boys – Licensed to Kill

The Ramones

Jimi Hendrix – Are You Experienced?

GNR – Appetite for Destruction

The Velvet Underground – and Nico

N.W.A. – Straight Outta Compton

Sex Pistols – Never Mind the Bolllocks

The Strokes – Is This It

The Band – Music From Big Pink

Patti Smith - Horses

A 40% overlap, but the gap is actually bigger than that.  Led Zeppelin I, for example, comes in at #72 on the RS list, despite the fact that they turned the world upside down, and as RS itself admits “the template was here.”

Just a little confused by RS’s logic.  They claim it’s about debuts “that gave you the thrill of an act arriving fully-formed, ready to reinvent the world in its own image.”  But they also said they deducted points if an act went on to far greater achievements.  OK.  No argument that Zep had many great albums after, but Zep I is arguably their best.  The impact was immediate, the excitement off the scale.  They certainly were “fully-formed.”

Similar gap with The Doors, by the way.

Scanning the longer list, one thing that strikes me is the number of times you could say, “they could have stopped there.”  This is acknowledged in a quote from Elliot Easton saying The Cars’ first album could have been called The Cars Greatest Hits.  You could say the same for The Band, Boston, Oasis, or even Hendrix.  They all went on to make some great music, but did they ever really match that first effort?

The impetus for both Gibson’s and Rolling Stone’s lists was the 50^th anniversary of Please Please Me by The Beatles.  In this case, you gotta wonder if the album is on the list because subsequent masterpieces dictate the debut had to be included.  OK, forget I said that.  But it could be true for Pink Floyd. 

Lovely Debutantes

Gibson’s list of 10 Great Debut Rock Albums makes the point that most bands need two or three records under their belt before the masterpieces show up, then provides a list of exceptions, which are:

Guns N’ Roses – Appetite for Destruction

Black Sabbath – Black Sabbath

Hendrix – Are You Experienced?

Oasis – Definitely Maybe

The Doors – The Doors

The Sex Pistols – Never Mind The Bollocks

The Velvet Underground - … and Nico

The Clash – The Clash

The Beatles – Please Please Me

Led Zeppelin – I (as in the Roman numeral)

Oh, did the Sex Pistols actually make more than one album?

Gibson’s introductory argument stands up.  Most of these bands went on to create more enduring, influential records (incontestable in the case of The Beatles, arguable in the case of Hendrix, irrelevant in the case of Sabbath), but these albums definitely made their mark.

I remember how people went nuts over Led Zeppelin and Hendrix.  Based on the strength of those reactions, I would have included the debut albums from:  The Band, Chicago, The Police, Elvis Costello, Tom Petty, and The Cars.  Everyone seemed to notice.  Your own list will no doubt differ.  You know, depending on your appetite, or experience.  Definitely, maybe.   Never mind; you don’t have to please me.

Monster Live

The Rolling Stone 10 Best Live Albums list makes the point that a good live album could actually make a career, and that’s true.

The reverse was almost true too.  There were some pretty bad – make that pathetic – releases that seriously damaged the image of some otherwise unimpeachable stars (at least for me).

Here’s the list:

 1.  The Who – Live at Leeds

 2.  Allman Brothers – Live at the Fillmore East

 3.  Peter Frampton – Frampton Comes Alive!

 4.  Rolling Stones – Get Yer Ya-ya’s Out!

 5.  Kiss – Alive!

 6.  Deep Purple – Made In Japan

 7.  Little Feat – Waiting for Columbus

 8.  Nirvana - Unplugged

 9.  The Band – The Last Waltz

10. Bob Seger – Live Bullet

I wonder if it helps to have an exclamation mark as part of your title?

Some great music by some fabulous bands here for sure.  Some are amongst my all time favourites.

The write-up talks about the colossal mistake Townshend made by destroying the rest of the recordings from the tour  - featuring mostly material from Tommy, which is what dominated their shows at the time.  But I remember how incredibly refreshing it was to not hear Tommy, how cool it was to hear The Who rock out, simple, pure and raw.

The albums on the list that had the most impact on me were the ones that were accompanied by films.  The visuals helped overcome the poor sound quality.

To be fair, technology, professional standards and perhaps reduced or alternative substance abuse have tremendously improved what can be achieved in a live recording.  But back then, things were a bit rough and uneven.

Speaking of visuals, when I first heard The Beatles at Shea Stadium, I was embarrassed.  It sounded just awful.  Remember, this was released not long after Abbey Road, one of the cleanest, best produced albums of all time.  Now, when I watch the doctored-up clips on Anthology, I’m convinced Shea Stadium was the best concert performance of ever.

And I guess that’s the challenge of a live album: technology and taste aside, does the recording and the performance manage to convey the magic these musicians can conjure up?  

Anyway, this list sure is a good representation of my generation.

Are the Kids Alright?

OK, so readers’ polls can result in some weird stuff.  Take, for instance, Rolling Stone’s Best Rock Documentaries, and – as George would say – spot the loony.

  1. The Last Waltz

  2. Woodstock

  3. This Is Spinal Tap

  4.  Gimme Shelter

  5.  The Kids Are Alright

  6.  Pearl Jam 20

  7.  No Direction Home

  8.  The Beatles Anthology

  9.  Beyond the Lighted Stage

 10. It Might Get Loud

Aw, come on, people!  Spinal Tap is wonderful, but can we check the dictionary here?  It’s brilliant.  It’s an accurate reflection of the culture.  It’s funny.  And it’s fake! 

Documentary:  noun, providing a factual record or report

Mockumentary:  brings up spellcheck

Do these same people also believe Sacha Cohen is a real journalist from Kazakhstan?  Help!  I mean, a joke takes the place of Rattle and Hum or Standing in the Shadows of Motown?  Mercy!

By the way, otherwise, great list.

What About Now?

Well, that’s all there is, right?

As Robbie Robertson sings: forget about tomorrow, don’t talk of yesterday; it’s too far away.

And does anything snap us into the moment as quickly, as forcefully, as completely, as music?  Not for me.

Ya, the big goal, the killer homerun, the nail-biting election; they’re pretty intense.  And all successful art makes you stop and think – and feel.  But music reigns supreme.  It takes you out of time and puts you in the moment.

You can feel energy you didn’t know you had in you, experience a dormant emotion, or get deep into an idea you didn’t care about.

You dance; you sing along, you listen.  Music is immediate, overpowering, total.  There’s nothing like it.

Music is right now.

On a Night Like This

Best Concert Movies of All Time list takes on a whole new dimension.  Here’s the list:

 1. The Last Waltz – The Band et al

 2. The Song Remains the Same – Led Zeppelin

 3. Stop Making Sense – Talking Heads

 4. Woodstock – everyone who was big at the time, and then some

 5. Rattle and Hum – U2

 6. Gimme Shelter – The Rolling Stones

 7. Live at Pompeii – Pink Floyd

 8. Shine a Light – The Rolling Stones

 9. Sign O’ the Times – that guys whose name keeps changing

10. Bullet in a Bible – Green Day

It’s fitting that the Stones get on the list twice, as it is that Scorcese directed two of these gems.

I wish that Led Zeppelin had made another film, though.  Or maybe I just wish there were none of those lame fantasy sequences.  Zep was fantastic in concert, and so they need to be on the list.  I just wish …

Speaking of wishing, a few shows I wish I’d been at and would therefore nominate for this list:

The Concert for George

AC/DC Live at Donnington

Queen Live at Wembley

Bonnie Raitt’s Road Tested

Anyway, no quarrel with The Last Waltz topping the list.  A superb performance from a great band – a smart band who went out on top - aided by an all-star guest line up.  R.I.P. Levon

Time Changes Everything

If nothing changed we’d all be stuck in a sort of groundhog day and life would get pretty boring.  Things change, we change, what we like and don’t like changes.

Dunno about you, but my musical tastes have changed a lot over the years, and it’s not just about getting mellower as I get older.  I hope.

For example:

Extreme changes, from “Hate it” to “Love it” – Van Morrison, The Band

Major changes, from “Don’t like it but respect it” to “Love it” – CCR, Motown, Blues, (some) Country

Minor changes, from “Like it” to “Love it” – Stones, AC/DC, Bob Marley

Minor changes from “Adore it” to “Love it” – Zeppelin, Deep Purple, Jethro Tull

Minor changes from “Love it” to “Like it” – Hendrix, The Who

Major changes from “Love it” to “Ya it was OK then but don’t care now” – The Byrds, The Cult, Humble Pie

Extreme changes from “Love it” to “Let’s pretend it didn’t happen” – Wang Chung (I don’t know; I really don’t know), Genesis, a lot of prog rock

Some things just wear thin over time.  Others seem to get better as I discover more and learn to appreciate what I’m hearing.

And some things don’t change.  In the “Can’t imagine ever not loving it” category – Clapton, Dire Straits, Bonnie Raitt, The Cars, The Police, Cat Stevens, James Taylor, Tom Petty.

And in a category of their own, the “this is perfect” category – The Beatles.  Sheer joy, any time at all.

Got Your Back

Gibson has this list of 10 Backing Bands Who Propelled Their Leaders To Fame and Glory.

The Spiders From Mars (David Bowie)
The Band (Bob Dylan)
The Heartbreakers (Tom Petty)
The Revolution (Prince et al)
Booker T. and the M.G.'s (Various)
The Experience (Jimi Hendrix)
The Attractions (Elvis Costello)
The Wailers (Bob Marley)
The E Street Band (Bruce Springsteen)
Crazy Horse (Neil Young)

Not sure I can think of any substitutes, but I gotta question The Band and Crazy Horse. Can anyone seriously contend that Bob Dylan wasn't already a household name before he hooked up with The Band? Or that he needed them afterwards? Ditto Neil Young. I've seen/heard Neil Young fill an arena with just his warbly voice and an acoustic guitar. With all due respect to Crazy Horse, any backup band would do.

BTW, can anyone name those guys?

Along the same lines, although Hendrix was not a household name before he teamed up with Noel Redding and Mitch Mitchell, and as good as they were, I wonder how long it would have been before he took the world by storm anyway.

At the opposite end of the scale: as strong as they were - and as much as they were the obvious leaders and the driving creative forces - I find it hard to distinguish between Tom Petty and the Heartbreakers, between Marley and The Wailers, between Springsteen and the E Street Band. They were units. The leaders were part of the band.

Probably the most interesting band on the list is Booker T and The M.G.'s. Those guys were the backup band. Sam and Dave, Wilson Pickett, Otis Redding, Albert King ... the list goes on.

Ah, hold on a minute! If we're going to include backup bands that supported more than one act, where are The Funk Brothers, who played on more hit records (for Motown) than everyone on the list combined?

Drum Roll Please

They don't make drums, but Gibson put out this list of The Top 10 Singing Drummers

I'm not going to quibble with any names on the list, because anyone who can sing and play drums at the same time has my respect. I mean, I can play guitar and sing - as long as the rhythm isn't too complex - but that's just 2 hands and voice. Drummers have to keep 2 feet going too - and they can't run away from the complex rhythms. I'm in a band with a singing drummer. We all sing, and all have us have said "my instrumental part is pretty complicated, so could someone else sing this?"

Except the drummer. These guys just amaze me.

No surprise to see Levon Helm, Phil Collins or Don Henley on the list. And nice to see Ringo, but hey Gisbon, you could have shown a video of Ringo where he was actually playing the drums and not just singing.

A little surprised to see Micky Dolenz of The Monkees on the list. He did have a good voice but how much drumming did he really do? I mean, are the pickings that slim? How about Dave Clark? How about Ginger Baker? OK, it's only one song and maybe you can't call it singing but his performance of Pressed Rat And Warthog on the Cream Reunion concert is pretty darned impressive.

Not quibbling, just asking.

On Tour On Your Stereo

Dunno 'bout you, but I didn't buy many live albums because they weren't that great. Poor sound quality, maybe substance-induced sloppy performances ... who needs that?

Things changed a bit in the video era when rehearsing, Broadway-like production, showmanship - not to mention digital editing - became the norm. But the early days were rather rough.

Interesting, then, that Gibson's recently published The Top 10 Live Albums Of The Rock Era is all from the 60's and 70's. Here's the list:

1. Live Cream
2. Woodstock Soundtrack
3. The Who, Live At Leeds
4. Bob Marley, Babylon By Bus
5. Rolling Stones, Love You Live
6. James Brown, Live At The Apollo
7. The Band, The Last Waltz
8. The Allman Brothers, Live At The Fillmore
9. Jimi Hendrix, Band Of Gypsies
10. Led Zeppelin, How The West Was Won

Pretty good list, especially the 1st four entries, which would exactly match my sequencing. All of them have exciting moments, but all of them also support my points. The sound quality is poor compared to what can be achieved now, and doesn't stack up to the studio albums made by the same bands.

And while one of the things that makes live music exciting is the risk involved, there are some "ouch" moments, not to mention downright sloppiness.

Didn't stop me from wearing out Live At Leeds though.

On a Night Like This

With the recent passing of Levon Helm, Rolling Stone’s Best Concert Movies of All Time list takes on a whole new dimension.  Here’s the list:

 1. The Last Waltz – The Band et al

 2. The Song Remains the Same – Led Zeppelin

 3. Stop Making Sense – Talking Heads

 4. Woodstock – everyone who was big at the time, and then some

 5. Rattle and Hum – U2

 6. Gimme Shelter – The Rolling Stones

 7. Live at Pompeii – Pink Floyd

 8. Shine a Light – The Rolling Stones

 9. Sign O’ the Times – that guys whose name keeps changing

10. Bullet in a Bible – Green Day

It’s fitting that the Stones get on the list twice, as it is that Scorcese directed two of these gems.

I wish that Led Zeppelin had made another film, though.  Or maybe I just wish there were none of those lame fantasy sequences.  Zep was fantastic in concert, and so they need to be on the list.  I just wish …

Speaking of wishing, a few shows I wish I’d been at and would therefore nominate for this list:

The Concert for George

AC/DC Live at Donnington

Queen Live at Wembley

Bonnie Raitt’s Road Tested

Anyway, no quarrel with The Last Waltz topping the list.  A superb performance from a great band – a smart band who went out on top - aided by an all-star guest line up.  R.I.P. Levon.

Put The Load Right On Me

Do you know what The Weight by The Band is about?

Me neither.

I mean, I know it's about a visit to Nazareth, PA where they make Martin guitars, and I know Robbie Robertson liked this Mexican filmmaker, and all that.  But what's the song really about?

Who is Carmen?  Male?  Female?  Hanging with The Devil?  Really?  How about Chester?  What's that about?  Luke?  Judgement Day?

Is this a religious song?  Apocalypse now (or soon)?  Is it just a trip?  I mean, a trip?  Is it, like so many nonsense songs of the time, about nothing at all?  Is it happy?  Sad?  Defiant?  Uplifting?  Humorous?  All the above?

No idea.

I do know this, though.  When I hear it, when I play it, I'm often (which is to say usually - OK almost always) inexplicably overcome by emotion.  Which emotion?  All of the above.

How can that be?  How can you have a strong reaction to a song when you don't even know what's going on?  When you can't really describe what the reaction is?

The song is 41 years old now, so lord knows how many times I've heard it.  And, since the reaction seems to intensify with age, maybe I've gradually projected thoughts, experiences and feelings onto the song.  A mixed up bundle of them, obviously.

Or maybe it's just magic.  After all, we're talking about music here.