Sloan – If It Feels Good, Do It

Every time I hear Sloan, I think of deKe…he is the one who turned me on to them, and since then they have been on my playlists.

I’ve never understood why Sloan didn’t become a major band in the United States. They had great songs, fantastic harmonies, and could play just about any style of rock they wanted. Maybe they were too melodic for modern rock radio and a little too loud for pop radio. Whatever the reason, America missed out on one of Canada’s finest bands. This song is the perfect introduction if you’ve never heard Sloan before. It’s power pop with some muscle behind it.

There are power pop songs that make you smile, and then there are power pop songs that kick the door open. Sloan’s falls into that second category. It has all the hooks you’d expect, but it’s wrapped in crunchy guitars and attitude. Power pop with a great riff and a chorus you can’t get out of your head.

By the time Pretty Together was released in 2001, Sloan had already become one of Canada’s most respected rock bands. Formed in Halifax before relocating to Toronto, the group was unusual because all four members, Chris Murphy, Patrick Pentland, Jay Ferguson, and Andrew Scott, wrote songs and sang lead vocals. That gave every album a different personality. One song might sound like The Beatles, the next Cheap Trick, then Big Star, followed by something with a little more crunch. Somehow it all fit together. They never seemed interested in chasing trends. They simply wrote the kind of records they wanted to hear.

Patrick Pentland wrote this song, and it became the lead single from Pretty Together. The song opens with Chris Murphy asking, “What rock and roll should really be?” before the band answers with four minutes of pure energy. It’s catchy without sounding too sweet. The guitars have enough bite to satisfy rock fans, while the melody stays in classic power pop territory. It was nominated for Best Single at the 2002 Juno Awards and was on the Triple Play 2002 video game and the film The Girl Next Door.

If It Feels Good, Do It

Your sight-specific knack
I fall under attack
The only time you cross the line
Is when you’re crossing back

Have you changed the song we were singing
Or have I just lost the air
If I said your behavior suffocates
Would you care?

Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t…

You found the perfect spot
For Jimmy’s wicked thoughts
It’s in my permanent collection
Now like it or not
Wishing away that the legacy left
Came in a frame and was the victim of theft
It adds more worth to work I’ve done
But as long as you’ve had fun

Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t…

I didn’t get your revisions
But sometimes life’s not fair
To think you almost apologized

Put her there, there, there
Don’t be sad at all
I’m about to get killed off
The writing’s on the wall
If you believe everything that you read
Turn to the only thing that you ever need
It says to do unto other
But the thing is you do

Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t stop, if it feels good do it
Don’t…

Don’t stop
Don’t stop
Don’t stop, if it feels good do it
Don’t…

Dave Davies – Susannah’s Still Alive

I’ve always thought Dave Davies deserved more credit than he usually gets. Ray Davies was a songwriting genius, but Dave’s guitar playing helped define The Kinks just as much. That raw, distorted sound changed rock music forever. On top of that, Dave could write songs that stood on their own, and this song is one of the best examples. It’s melodic, heartfelt, and has that unmistakable Kinks sound. If you’ve only heard Dave through his guitar work, this is a great place to discover the songwriter.

When most people think of The Kinks, they naturally think of Ray Davies. He wrote most of the band’s classic songs and became one of rock’s greatest storytellers. But without Dave Davies, The Kinks wouldn’t have sounded like The Kinks. His slashing guitar on You Really Got Me helped invent hard rock, and his playing gave Ray’s songs an edge that few bands could match. Every now and then, Dave stepped into the spotlight himself, and this one proved he had plenty to say as a songwriter.

Released in 1967 as Dave’s second solo single, it arrived during one of the most creative periods in The Kinks’ career. Ray was writing songs that painted pictures of English life, while Dave leaned toward a more personal, emotional style. This was written by Dave himself and produced by Shel Talmy, the song features the familiar Kinks lineup. Although credited as a solo record, it feels like a close cousin to the band’s recordings from that era.

The song tells the story of someone looking back on a relationship with a mix of regret and hope. Dave’s vocals have a vulnerability that suits the lyrics perfectly, while his ringing guitar work reminds you that he was far more than just the band’s lead guitarist. The melody has that unmistakable late-1960s British feel, balancing catchy hooks with just enough melancholy to make it linger after the song ends.

This wasn’t a major hit everywhere, but it performed well in parts of Europe and has become one of Dave Davies’ signature solo recordings. Looking back, it’s easy to hear that he wasn’t simply Ray’s younger brother. He was an important creative force in The Kinks, both as a guitarist and as a songwriter. Songs like this show another side of his talent and remind us that sometimes the second voice in a great band has a story worth hearing too.

Susannah’s Still Alive

Old Susannah’s bedraggled
But she still wears a lanyard ’round her neck
She’s got a picture on the table
Of a man who’s young and able

Oh, Susannah’s gonna cry
Oh, Susannah’s still alive

Whiskey or a gin, that’s alright
There’s nothing in her bed at night
She sleeps with the covers down
Hoping somebody jumps in
Doesn’t matter what she does
She knows that she can’t win
Oh, Susannah’s still alive

She’s got a dog with one eye
That always cries when he gets some sleep
She’s waiting for a soldier to come home
But you cry and never die

Oh, Susannah’s gonna cry
Oh, Susannah’s still alive

Whiskey or a gin, that’s alright
There’s nothing in her bed at night
She sleeps with the covers down
Hoping somebody gets in
Doesn’t matter what she does
She knows that she can’t win
Oh, Susannah’s still alive

Oh, Susannah’s gonna cry
Oh, Susannah’s still alive
Oh, Susannah’s still alive

Woody Guthrie – When That Great Ship Went Down

I was researching my post on the RMS Lusitania for my other blog (oldsteamships.blog) today, and I stumbled across this Woody Guthrie song. I had never heard it before, and I’m certainly not a Woody Guthrie expert. I know his more famous songs and his enormous influence on Bob Dylan and others, but somehow this song, sometimes listed simply as “The Great Ship,” had escaped me. The song is about the Lusitania, and hearing it while preparing a post about the ship made the two stories fit together naturally. He did conflate the Lusitania and Titanic in one line: “Felt the iceberg and shock.” No iceberg with the Lusitania, just a U-Boat and a torpedo.

The melody and title have roots in an earlier folk ballad usually associated with the Titanic. William and Versey Smith recorded “When That Great Ship Went Down” in 1927, and versions of the song had circulated for years before that. Woody often worked in that folk tradition, taking familiar melodies and structures and reshaping them around another event. His version changes the ship and much of the story, turning an older disaster ballad into a remembrance of the Lusitania.

Guthrie sings the song from the viewpoint of someone aboard the sinking liner. He describes frightened passengers, mothers and children, the cold ocean mist, and a final kiss between two people who know they may not survive. Then he names the ship directly: the Lusitania, once famous throughout the world, was sunk on May 7, 1915. Guthrie does not fill the song with historical details. He makes it personal and lets the passengers tell the story. That is what makes it work.

Guthrie recorded the song during a group of sessions made for Moses Asch in 1944 with Cisco Houston and Sonny Terry. Those recordings were not originally arranged as conventional albums, which is one reason his catalog can be a little confusing. The performance later appeared on This Land Is Your Land: The Asch Recordings, Volume 1, and another version was included in the 2012 Smithsonian Folkways collection Woody at 100. A home recording from around 1951 was also released much later as part of the archival Woody at Home collection.

When That Great Ship Went Down

Lusitania was her name
And great was her fame
And great was the shame
When this great ship went down

On the seventh day of May
In the nineteen fifteen
This good ship sailed high
And the good ship went down

I looked at my clock
Felt the iceberg and shock
Felt the whole ship a-rockin’
When this good ship went down

Lusitania was her name
And great was her fame
And great was her shame
When this good ship went down

That explosion aside
My face white with fright
I know that death was my plight
When this great ship went down

All my friends seemed numb to smile
I saw mother and child
I saw the cold waves run wild
When this great ship went down

I felt so sad to know
That this high leaping foam
Would now be my home
When this great ship went down

Told my sweetheart we’d kiss
Our last earthly kiss
In this cold ocean mist
When this great ship goes down

Lusitania was her name
And great was her fame
And great was her shame
When this good ship went down

Speak a prayer in my heart
For you souls of depart
You be torn not apart
When this great ship goes down

Speak a prayer in my heart
For you souls of depart
You be torn not apart
When this great ship goes down

Lusitania was her name
And great was her fame
And great was the shame
When this good ship went down

Lusitania was her name
And great was her fame
And great was the shame
When this great ship went down

Jack de Keyzer – That’s The Way

I found this Canadian musician not long ago, and he sounds great. I’ve listened to quite a few songs, and he has a guitar tone that is hard to beat.

Some musicians spend their careers trying to make hit records. Others keep making great music without much attention. Canadian guitarist Jack de Keyzer falls into that second group. Born in London, England, he moved to Canada as a child and became one of the country’s most respected blues guitarists. Since the early 1980s, he has released a string of albums while building a reputation as a terrific live performer, winning numerous Maple Blues Awards along the way. While he never became a household name, musicians have known for years just how good he is.

It was one of the songs that introduced Jack de Keyzer to a much wider audience. Released first as a single in 1990 and later opening his 1991 debut album Hard Working Man, it blends blues, rock, soul, and a little rhythm and blues into a sound that feels both modern and timeless. It isn’t built around huge guitar solos; instead, the song succeeds because of its groove and tasteful guitar work.

Although I’m featuring the original version from Hard Working Man, de Keyzer continued to build his reputation over the years. One of his biggest successes came with The Corktown Sessions, which earned him a Juno Award and introduced his music to an even wider audience, and this song is on it as well. By the time his career reached that point, he’d already spent decades proving himself as one of Canada’s finest blues guitarists.

Before establishing himself, Jack de Keyzer was a member of Toronto’s The Bop Cats in the early 1980s. The band blended rockabilly, rhythm and blues, and roots rock at a time when interest in 1950s-inspired music was enjoying a revival. Featuring energetic performances and tight musicianship, The Bop Cats released several albums, including The Bop Cats (1981), Rockabilly Rhythm (1982), and Bootleg (1983). Although they never became a household name, they developed a loyal following throughout Canada and helped introduce many listeners to de Keyzer’s exceptional guitar playing long before he embarked on his successful solo career. I really like the Bop Cats and will have something coming up on them shortly.

His guitar never overpowers the song, and his vocals fit the music perfectly. The band locks into a steady rhythm and lets the melody carry things forward. You can hear influences from players like Eric Clapton, B.B. King, and Albert Collins, but de Keyzer never comes across as someone trying to imitate his heroes. He has developed his own voice over decades of playing clubs, festivals, and theaters across Canada and beyond.

Sometimes success is measured by longevity, respect from fellow musicians, and a catalog full of songs waiting to be discovered. This is one of those tracks that makes you wonder why more people haven’t heard of him, and that’s usually a sign you’ve found something worth sharing. He has opened shows for artists like B.B. King, Etta James, and Bo Diddley over the years. He may not be a superstar, but the legends certainly knew who he was. That’s often one of the best endorsements a musician can get.

Jack de Keyzer: I’ve done a lot of session guitar playing for live gigs with people. When I played with Bo Diddley and Etta James they were live shows – they weren’t in the studio. In the studio I have worked with a lot of different blues people like Rita Chiarelli, Willie Big Eyes Smith, who was Muddy Waters’ drummer, King Biscuit Boy, Harmonica Shah, David Rotundo, The Shaftmen, Brant Parker and Erin McCallum.

Pretenders – Brass In Pocket

Sometimes a band’s biggest hit isn’t the song that best represents them, and I think that’s true here. If you explore The Pretenders’ catalog, you’ll find songs with more bite and emotion. But this one was the perfect introduction. It made me want to hear more, and that’s exactly what a great first hit should do. Even if Chrissie Hynde has had mixed feelings about it, I’m glad she still plays it. Some songs become bigger than the artist’s opinion of them, and this is definitely one of those.

When The Pretenders released their debut album in 1980, few people knew what to expect. Led by Chrissie Hynde, the band mixed rock, punk, pop, and new wave into a sound that was all their own. While the album was packed with strong songs, it was this song that introduced millions of listeners to the band and turned them into stars.

The song was written by Chrissie Hynde and guitarist James Honeyman-Scott during an early rehearsal. Musically, it has a relaxed groove with a touch of soul that was inspired by Stax and Motown records. Hynde later admitted she wasn’t crazy about the song and didn’t think it represented the band very well. She even resisted releasing it as a single. The record company disagreed, and history proved them right.

One of the things that has always made the song memorable is its unusual lyrics. The phrase “brass in pocket” is old British slang for having money in your pocket. Even though Hynde has said over the years that it isn’t one of her favorite songs, she also understands what it means to fans. It’s still a regular part of the Pretenders’ concerts because she knows audiences want to hear it.

This was the song that introduced me to The Pretenders. Looking back, it’s interesting because it doesn’t really sound like much of what came later. Their music would become tougher, sharper, and more guitar-driven.  But this song has a warmth and bounce that makes it stand on its own. It may not be their best song, but it is certainly one of their catchiest, and after all these years, it’s still the first one that comes to mind when I think about discovering the band.

The song peaked at #1 in the UK, #14 on the Billboard 100, #5 in Canada, and #25 in New Zealand in 1979.

Brass in Pocket

Got brass in pocket
Got bottle, I’m gonna use it
Intention, I feel inventive
Gonna make you, make you, make you notice

Got motion, restrained emotion
Been driving Detroit leaning
No reason, just seems so pleasing
Gonna make you, make you, make you notice

[Chorus:]
Gonna use my arms
Gonna use my legs
Gonna use my style
Gonna use my side step
Gonna use my fingers
Gonna use my, my, my imagination

‘Cause I gonna make you see
There’s nobody else here
No one like me
I’m special so special
I gotta have some of your attention give it to me

Got rhythm I can’t miss a beat
Got new skank it’s so reet
Got something I’m winking at you
Gonna make you, make you, make you notice

[Chorus]

‘Cause I gonna make you see
There’s nobody else here
No one like me
I’m special, so special
I gotta have some of your attention
Give it to me
‘Cause I gonna make you see
There’s nobody else here
No one like me
I’m special, so special
I gotta have some of your attention

Give it to me

Notting Hillbillies – Your Own Sweet Way

I remember these guys in the early 1990s. It was completely different than Dire Straits, and Mark Knopfler could change like great artists do.

The Notting Hillbillies were never meant to be a full-time band. They came together almost by accident in the late 1980s when Mark Knopfler was working on a television soundtrack and invited a few friends to join him. Along with guitarist and songwriter Steve Phillips, keyboardist Guy Fletcher, and singer Brendan Croker, they enjoyed the sessions so much that they decided to record an album. The result was Missing…Presumed Having a Good Time, released in 1990. It wasn’t built around the Brothers in Arms sound. Instead, it mixed country, folk, blues, and the kind of music these four musicians had loved long before they became famous.

This song is one of my favorite tracks on the album. It was written by Mark Knopfler, and it has everything I enjoy about his songwriting. The melody is simple, the lyrics never try too hard, and the song breathes. Rather than showing off, everyone plays exactly what the song needs. It feels more like four friends sitting in a room making music than a carefully planned studio production.

Knopfler’s guitar is instantly recognizable, but what really makes this recording special is the relaxed atmosphere. Brendan Croker’s voice blends perfectly with Knopfler’s style, while Guy Fletcher’s keyboards and Steve Phillips’ tasteful guitar work add just enough color without ever getting in the way. You can hear the country influences, but there are also touches of folk and British roots music throughout. It has the feel of an old back porch performance that just happened to be captured on tape.

I like songs like this because they remind me that music doesn’t always have to be loud or complicated to leave an impression. It’s simply a well-written song played by musicians who clearly loved making it together. Sometimes those are the recordings that stay with you the longest, and this one has done exactly that for me.

This song peaked at #76 in the UK and #13 in Canada in 1990. The album Missing…Presumed Having a Good Time peaked at #2 in the UK and #29 in Canada.

Your Own Sweet Way

Nothing I can do
Nothing I can say
You’ll do what you want to
Go your own sweet way
You’ll go your own sweet
Your own sweet way
Now I can talk to you serious
I can talk to you nice
When it comes to love
You won’t take good advice

You’ll go your own sweet
Your own sweet way
Yeah, you’ll go your own sweet
Your own sweet way

It doesn’t matter what I say
What I do or what I think
You can lead a horse to water
You can’t make him drink

You’ll go your own sweet
Your own sweet way
I said, you’ll go your own sweet
Your own sweet way

Turtles – Elenore

I had this single as a kid. I had a cool cousin who had a lot of records in the sixties, and she gave many to me when she found out that I discovered the Beatles. She greatly influenced my young musical tastes. I will always be grateful to her. I still have that single packed away somewhere, and I remember her every time I hear the song.

The Turtles had become one of the biggest pop groups in America thanks to songs like Happy Together, She’d Rather Be With Me, and You Showed Me. Their record company wanted another smash that sounded just like those hits. The band had other ideas.

Howard Kaylan and Mark Volman, along with songwriters Al Nichol and Jim Tucker, decided to have a little fun. They intentionally wrote this song as an exaggerated version of a Turtles love song. Every cliché was turned up a notch. The opening line, “You’re my pride and joy, etcetera,” was meant as a joke. Who starts a love song with “etcetera?” That was exactly the point. They figured the label would reject it.

Instead, the opposite happened. The record company loved it and released it as a single in 1968. It climbed to No. 6 on the Billboard Hot 100 and became another gold record. The joke was on the band. Fans never realized it was a tongue-in-cheek parody. They simply heard another great pop song with one of the catchiest choruses of the decade. Kaylan later admitted they couldn’t believe people took it seriously, but they certainly weren’t complaining.

There was just something about that melody that stuck with me. And, of course, that unforgettable opening line. I still smile every time I hear “You’re my pride and joy, etcetera.” I can’t think of many hit songs that worked the word “etcetera” into the lyrics, yet somehow it fits perfectly. Whether it started as a joke or not, it became exactly what the band was trying to parody, another timeless pop classic. That’s one of the reasons I have always liked the Turtles; they never took themselves seriously.

Behind many of these singles is a story that’s every bit as entertaining as the song itself. And thanks to my cousin handing me that years ago, because it has always been one of those records that takes me right back to being a kid.

The song peaked at #1 in New Zealand,  #6 on the Billboard 100, #4 in Canada, and #7 in the UK in 1968.

Howard Kaylan: It was never intended to be a straight-forward song. It was meant as an anti-love letter to White Whale (their record company), who were constantly on our backs to bring them another ‘Happy Together.’ So I gave them a very skewed version. Not only with the chords changed, but with all these bizarre words. It was my feeling that they would listen to how strange and stupid the song was and leave us alone. But they didn’t get the joke. They thought it sounded good. Truthfully, though, the production on ‘Elenore’ WAS so damn good. Lyrically or not, the sound of the thing was so positive that it worked. It certainly surprised me.” 

Elenore

You got a thing about you
I just can’t live without you
I really want you Elenore near me
Your looks intoxicate me
Even though your folks hate me
There’s no one like you Elenore really

Elenore gee I think you’re swell
And you really do me well
You’re my pride and joy et cetera
Elenore can I take the time
To ask you to speak your mind
Tell me that you love me better

I really think you’re groovy
Let’s go out to a movie
What do ya say now, Elenore can we?
They’ll turn the lights way down low
Maybe we won’t watch the show
I think I love you, Elenore, love me

Elenore, gee I think you’re swell
And you really do me well
You’re my pride and joy, et cetera
Elenore, can I take the time
To ask you to speak your mind?
Tell me that you love me better

One more time!

Elenore, gee I think you’re swell, ah-hah
Elenore, gee I think you’re swell, ah-hah-hah

Ducks Deluxe – Fireball

Every now and then, I stumble across a song that makes me wonder how I missed it for so many years. This awesome song by Ducks Deluxe was one of those. It has everything I like about pub rock. Enough energy to make it sound like the band is playing ten feet away. The first time I heard it, I knew it wouldn’t be the last.

Ducks Deluxe formed in England in the early 1970s and became one of the pioneers of the pub rock movement. While progressive rock bands were hot and glam rock was dominating the charts, Ducks Deluxe took a different path. They played straightforward rock and roll mixed with country, rhythm and blues, and a little rockabilly. The band never became a household name, but they helped build the foundation for a scene that would later produce artists like Nick Lowe, Dave Edmunds, Graham Parker, and many others. Several members even went on to successful careers after the group broke up, proving just how much talent was packed into one band. Some band members joined Graham Parker’s band, The Rumour.

This song captures everything that made Ducks Deluxe special. The rhythm never lets up, the guitars have plenty of bite, and the whole band sounds like they’re having a great time. There isn’t a lot of studio polish here, and that’s part of the charm. Pub rock was about songs and musicianship, not gimmicks. Listening to it now, it’s easy to imagine hearing it in a crowded London pub with people packed shoulder to shoulder, enjoying every minute of it. This song was released in 1974 on their self-titled debut album.

What I like most about this is its honesty. It doesn’t try to be bigger than it needs to be. It’s simply a great rock and roll song played with confidence and heart. That’s something I’ve been discovering more and more as I dig into the pub rock scene. They left behind some outstanding music. Ducks Deluxe is another reminder that sometimes the best songs are the ones you have to find for yourself.

Mickey Jupp – Switchboard Susan

Sometimes all it takes is a great song title to pull me in. Switchboard Susan was one of those. Before I heard a note, I wanted to know what it sounded like. Then the guitars kicked in, the rhythm started rolling, and I knew I’d found another hidden gem. It’s one of those songs that sounds like it should have been on the radio every day, yet somehow slipped through the cracks.

Mickey Jupp was born in England and began recording in the late 1960s with his band Legend before launching a solo career in the 1970s. He never became a household name, but among musicians, he earned enormous respect as a songwriter. His music blended rock and roll, rhythm and blues, country, and a little rockabilly, making him a perfect fit for the growing pub rock scene. Jupp stayed true to the music he loved. Artists like Nick Lowe, Dave Edmunds, and Rockpile were all fans of his writing, and several of his songs found a wider audience through their recordings.

It’s on his album Long Distance Romancer, released in 1979. It’s built around a simple idea, but that’s part of what makes it work so well. The guitars have that familiar style snap, and the melody sticks after just one listen. A year later, Nick records it for Labour of Lust, backed by Rockpile, Dave Edmunds, Billy Bremner, and Terry Williams. So although the album says Nick Lowe, you’re really hearing Rockpile playing behind him., but it all started with Mickey Jupp’s pen.

What I like most about this song is how natural it feels. Nothing is forced. It’s just a great rock and roll song played with confidence and heart. Mickey Jupp may not have had the fame of some of his friends, but songs like this remind me that influence isn’t always measured by chart positions. Sometimes it’s measured by how many great musicians keep coming back to your songs.

NIck Lowe: Mickey Jupp is touched with genius but he could be a difficult and contrary man. … I nearly had to throw myself across the tracks to stop the train and prevent Rockpile from leaving town. But “Switchboard Susan” had a cracking backing track, so I offered to buy it off Mickey, and he agreed. Then I stuck my vocal on it.

I want to thank Randy from mostlymusiccovers. I always email him about blues artists or Rockpile because their history is very confusing at times. He helped me out with this song.

Switchboard Susan

Switchboard Susan won’t give me a line
I need a doctor get me 999
The first time I picked up my telephone
I fell in love with your ringing tone

I’m a long distance romancer
And I keep on trying until I get an answer
Give me! give me! one more chance
You’re a great, little operator

Switchboard Susan let me off the hook
I’ve been this way since you just gave me a look
Switchboard Susan girl you’re all the rage
Come on woman now let’s get engaged

I’m a long distance romancer
And I keep on trying until I get an answer
Give me! give me! one more chance
You’re a great, little operator

Now when I look at you girl I get an extension
And I don’t mean on Alexander Graham Bell’s invention
Switchboard Susan can we be friends
After six and at weekends

I’m a long distance romancer
And I keep on trying until I get an answer
Give me! give me! one more chance
You’re a great, little operator

Ace – Sniffin’ About

Most people know Ace for How Long. It’s a great song and deserves its place on classic rock radio. But every now and then, I like to dig a little deeper, because sometimes you will find hidden treasures. This one was one of those discoveries for me. The first time I heard it, I couldn’t believe this was the same band. It has a tougher edge, a great groove, and more hooks than a pirate’s convention.

Ace formed in Sheffield, England, in the early 1970s and quickly became part of Britain’s growing pub rock scene. The band featured the soulful voice and keyboards of Paul Carrack, along with guitarist Alan “Bam” King, bassist Terry Comer, and drummer Fran Byrne. Unlike many of the louder bands of the day, Ace relied on tight musicianship and tasteful playing. They fit perfectly into the pub rock movement, where good songs mattered more than flashy stage shows.

This song appeared on the band’s debut album, Five-a-Side, released in 1974. This was the B side to How Long. While How Long became a worldwide hit, this track shows another side of Ace. The rhythm section stays locked in, and Paul Carrack delivers an effortless vocal like he always does. Like so many pub rock recordings, it’s straight ahead. It simply lets the band do what they did best: play together. That’s probably why it still sounds so fresh today.

This reminds me not to stop with the hit singles. So many great bands have albums full of songs that never made the radio but are every bit as rewarding. Ace is one of those bands. It’s another reminder that some of the best discoveries are hiding just below the surface. The album peaked at #11 on the Billboard Album Charts and #16 in Canada in 1974.

Sniffin’ About

Takin’ it easy, takin’ our time, sniffin’ about
We got a notion, time gonna tell and it’ll work out
It goes
There ain’t no sly seducer fooling me
And nothing you can do, Sir, oh no

I learned me a lesson when I was a boy
Just sniffin’ about
You get a connection, selected perfection
It’ll work out

It goes
There ain’t no sly seducer fooling me
Ain’t nothing you can do, Sir, anyway

Sniffin’ about
Checking it out
Sniffin’ about
Checking it out

Well, I learned me a lesson when I was a boy
Sniffin’ about
You get a connection, selected perfection
It’ll work out

It goes
There ain’t no sly seducer fooling me
Ain’t nothing you can do, Sir, anyway

Sniffin’ about
Checking it out
Sniffin’ about
Checking it out

Alright
Alright
(Sniffin’ about)
Alright, I
(Sniffin’ about)
Alright, I was sniffin’
Just sniffin’, sniffin’ about
Just sniffin’ about
I was just sniffin’, sniffin’ about
Checking it out
Sniffin’ about
Oh, I was sniffin’ about
I was checking, checking it out
Yeah, I was was sniffin’ about

Brinsley Schwarz – Surrender To The Rhythm

This is so extremely catchy, and that organ just makes it flow. Also, I don’t think I’ve ever seen Nick Lowe this young before in the video you will hopefully watch. You know… when I cover pub rock or the Paisley Underground scene, it doesn’t feel like I’m reviewing songs anymore. I feel like I’m mapping out musical neighborhoods because these musicians all knew each other and worked together.

Brinsley Schwarz never had a big hit, but they did influence artists like Elvis Costello and The Clash. They were known as a pub rock band and were active between 1969 and 1975. The band released 6 albums in that time. Their members included Nick Lowe, Bob Andrews, Brinsley Schwarz, and Billy Rankin…they were later augmented by Ian Gomm on guitar and vocals.

Some songs don’t need a big chorus or a fancy production to grab you. They just have a groove that feels right from the opening notes. That’s what this song has always been for me. It isn’t one of Brinsley Schwarz’s best-known songs, but it should be. Every time I hear it, I think of a band that simply loved playing together. Musicians locked into the same groove and having a great time.

Nick Lowe wrote this song, and the band recorded it for their 1972 album Nervous on the Road. The song rides on Lowe’s knack for writing melodies that sound familiar the very first time you hear them. The title says it all. Quit overthinking things and let the music take over! It became one of the band’s signature live songs and has appeared on several later compilations, proof that even the band knew they had something special with it.

They were formed in England after evolving from the late 1960s band Kippington Lodge. The group featured guitarist Brinsley Schwarz, but before long, another member began writing many of the band’s songs. That was Nick Lowe. Along with Bob Andrews, Billy Rankin, and later Ian Gomm, they became one of the leading bands in the growing pub rock movement. While progressive rock bands were adding longer solos and glam rock was becoming more theatrical, Brinsley Schwarz went the other direction. They looked back to American rock and roll, country, soul, and rhythm & blues.

It’s one of those records that reminds me why I enjoy digging a little deeper than the obvious songs. If you like Nick Lowe’s solo work or the music of Dave Edmunds, Rockpile, or Graham Parker, you can hear the roots of all of that right here. Sometimes the most influential bands aren’t the ones filling stadiums. They’re the ones quietly showing everyone else how it’s done.

Allmusic gave it 5 stars, and grumpy critic Robert Christgau gave it an A-.

Surrender to the Rhythm

Well they danced to every tune the band could play
At just about midnight when they decided to call it a day
Now there’s one thing that’s left here on their mind
Yeah, yeah, yeah
To get a little slice at any price, yeah
To store the shoes and rice
And surrender to the rhythm that is calling them home

Oh she was dumb, she was dirty
Yeah, but she was a princess
Custom made to fit right in to his arms
She could thrill him, she could chill him
Down to the bone
But he was in his teens, yeah
He had to spill the beans
Still looking for ways and means
To surrender to the rhythm that is calling him home

And who’s to say if it’s right or wrong
Not another singer in another song
I say we’re doing alright
Yeah we’re doing okay
Oh now guess what, guess what happened
Guess what happened then

She had to go, said she was meeting up with one of her friends
So there was nothing more or less than another mess of the blues
Now he had more to lose
Started putting in booze
Oh yeah, paying his dues
And surrendering to the rhythm that is calling him home

Surrender to the rhythm
Surrender to the rhythm
Surrender to the rhythm
Surrender, yeah, to the rhythm