Paul McCartney – Soily

He wrote this song in 1971 and with the Wings they played it live for years. It’s not a love ballad by Paul…it’s a rock song with the same intensity as Juinor’s Farm. In 1974 the Wings recorded an in-studio live version that they were going to release on the album One Hand Clapping. They also shot a video while they were there for a documentary.

The album was shall we say… delayed. It didn’t see the light of day until June 14, 2024…over 50 years after it was recorded. It was recorded right after Band On The Run was released. I like hearing Paul reaching for a distorted guitar in his songs. I wish he would have done more through his career. Paul could write good rock songs such as Juinor’s Farm, Jet, Let Me Roll It, and a few more. 

The video portion didn’t get released until 2010 when it appeared in a box set for Band On The Run. The 4K version hit theaters in September of last year. This song didn’t get released to the public until Wings Over America. It was the B side to Maybe I’m Amazed…both versions of course live. The film was going to be Paul’s way of introducing a new Wings.

Guitar player Henry McCullough and drummer Denny Seiwell had left Wings right before the recording of the Band on the Run album.  New members…guitarist Jimmy McCulloch and drummer Geoff Britton took their spots. They would use this song as an opener through the years and an encore at some shows. It’s a song that is meant to be played live and was never featured on a studio album. 

The One Hand Clapping Album peaked at #10 on the UK Charts and #74 on the Billboard 100 in 2024. 

Jimmy McCulloch was probably the most talented guitar player Paul ever had in Wings. He famously made it when he was 16 with Thunderclap Newman. However, he had a lot of problems. He was somewhat depressed and when he wasn’t he was drinking heavily there were many arguments between the two men and he often would target Linda for her lack of musical talent. It really came to a head around the time of London Town when Jimmy quit.

Paul McCartney:  “Looking back on it [the Wings era], it’s a lot better than I thought, though some of it is just not played as well as The Beatles. My son plays a lot of Wings, so I’m re-listening, and there’s good shit that I’d forgotten about. A lot of the lyrics were off the wall, drug stimulated. Things like ‘Soily – the cat in the satin trousers says its oily’. What was I on? I think the answer is stimulants.”

Soily

One, two
One, two, three, four!

Well, people gathered here tonight
I want you to listen to me
To your left and to your right
We’ve got some pretty soily company

Readers, writers, farmer, priest
Breed controller, born deceased
Indian, lawyer, doctor, dog
And a plumber with a fattened hog

Soily, soily
Well, the cat in the satin trousers said it’s oily
Soily, soily
Well, the cat in the satin trousers said it’s oily
Yes, he did!

Well, come on, baby, that soily song
Soily people
Well, come on, baby that’s fine now
Yeah

Romans, Italians, country men
I want you to listen to me
I’ve said it once and I’ll say it again
We’ve got some pretty soily company

Liars, cheaters, jungle chief
Saint, believer on relief
Action painter, Hitler’s son
And a commie with a tommy-gun

Soily, soily
Well, the cat in the satin trousers said it’s oily
Soily, soily
Well, the cat in the satin trousers said it’s oily
You know he’s right
Yeah, yeah, yeah, yeah, yeah, yeah
Ooh, yeah yeah

Well, come on, baby, that soily song
Soily people
Yeah, come on, baby, that’s going round
Yeah!

People gathered here tonight
I want you to listen to me
To your left and to your right
You’ve got some pretty soily company

Readers, writers, farmer, priest
Saint, believer on relief
Hitler’s painter, action son
And a commie with a tommy-gun

Soily, soily
Well, the cat in the satin trousers said it’s oily
Soily, soily
Yeah, the cat in the satin trousers said it’s oily
Yeah, soily, soily
Well, the cat in the satin trousers said it’s oily, yeah
Soily, soily
Well, the cat in the satin trousers said it’s oily
And you know he’s right
Ooh yeah!

Dr Feelgood – Milk and Alcohol

Oh, how I love some British Rock. I want to thank Clive for bringing this song to my attention. I first learned about Pub Rock a few years ago from CB and Dave. The Motors are the first band I knew about and then Brinsley Schwarz. The genre sounded like raw rock and roll with a lot of power and punch. I could relate after playing in many bars myself through the years. There is a feel to that music…a lot of loud guitar and sweat which I enjoy. 

I’ve been told that “pub rock” was not a compliment at the time. It started in the UK in the early 1970s.  It was the anti-progressive and glam rock at a time when they were popular. It’s more of roots-type music which is right up my alley. Not that I don’t like glam and progressive but I like the stripped-back approach. 

Dr Feelgood was formed in Caney Island, Essex, in 1971. Their members included Lee Brilleaux on vocals and harmonica, Wilko Johnson on guitar, John B. Sparks (Sparko) on bass, and John Martin on drums. They were one of the main bands in pub rock along with Brinsley Schwarz. They got their name from a Johnny Kidd and The Pirates song Dr. Feelgood. I’ve read different origins but that came from their official site. 

By 1973 they were getting popular on the pub circuit and released their debut album in 1975 called Down By The Jetty. They released Milk and Alcohol in 1979 and it was written by Nick Lowe and John Mayo. Doesn’t it seem there were like 5 Nick Lowes back then? The man was everywhere. The song was influenced by Lowe drinking  Kahlúa-milk drinks after a John Lee Hooker in the United States. It was inspired by a Hooker lyric about milk, cream, and alcohol. 

The song peaked at #9 on the UK charts in 1979. This was the only top 10 song of their career. It was on the 1978 album Private Practice which peaked at #41 on the UK Album Charts that year. A version of the band is still going on now with different members. 

Milk and Alcohol

White boy in townBig black, blue soundNight club, I paid inI got a stamp on my skin

Main attraction dead on his feetBlack man rhythm with a white boy beatThey got him on milk and alcoholThey got him on milk and alcohol

Stay put I wanna goHard work, bad showMore liquor, it don’t helpHe’s gonna die, it breaks my heart

I decided eventuallyThis ain’t doing a thing for meThey got him on milk and alcohol

They got him on milk and alcohol

They got him on milk and alcoholThey got him on milk and alcoholThey got him on milk and alcoholThey got him on milk and alcohol

Got up, I walked outTo the car, start it upFeel bad, sad nightI never saw a red light

Sirens were a screamin’ all aroundI pulled on over and I shut her downA black cop gave me a shove with his gunSaid up against the wall and don’t make a runThey got me on milk and alcoholThey got me on milk and alcohol

Overlooked Pop/Rock Masterpieces

I hope I’m wording this right and what I’m trying to get across are songs that are not just regular pop/rock songs. Some of these have sections instead of 3 or 4 chords and it’s over with. Intricate songs to duplicate and fit together like a jigsaw puzzle. I’ll give you an example…Queen’s Bohemian Rhapsody or The Beach Boys Good Vibrations. Those are not songs you just run into a studio and record in one take. Many of these songs took days, weeks, or months to get right recording different sections. 

I usually like down-to-earth and rootsy kind of songs but sometimes I do like listening to these great songs. These are overlooked by the masses with people often connecting with a big hit by the band instead. I’ve picked 3 songs to present here. Being a musician…I can sure appreciate what it took to record these. 

Overnight Sensation (Hit Record) – The Raspberries

I posted a Raspberries song this weekend but this one remains my number 1 song even over Go All The Way because it’s so epic. 

Overnight Sensation (Hit Record) is an epic, ambitious, grand, lofty, extravagant, and brilliant song from the Raspberries. They were swinging for the fences when they made this song and they hit it out of the park. It’s on the album Starting Over released in 1974.

Put some headphones on and listen to this completely to the very end… When I hear it, I think this is what it would sound like if The Who, Beach Boys and Beatles made a song together…this would be it. Musically you have a little of everything. Sliding bass lines, tasteful guitar licks, great vocals, a sax solo that gives way to more lyrics as the song morphs into an AM radio sound… and then comes a solo piano.

Stay until the very end because they dupe you into a fake ending and the drums will come in as if the world is going to end. Then… a Beach Boys final huge crescendo wave will wash over you like a warm summer moonlit night. It’s a wall of sound of ecstasy that you wish would go on forever.

Bruce Springsteen: “Overnight Sensation (Hit Record) should go down as one of the great mini-rock-opera masterpieces of all time”

 

Broken Arrow – Buffalo Springfield

The song Broken Arrow is a song that was made in sections and it’s hard to explain it with words… Something is haunting and beautiful about it. I listen to it now and it’s like Buffalo Springfield’s own A Day In The Life. It was produced in 1967 during the psychedelic era. One of my favorite songs of all time…any song with the lyric “He hung up his eyelids and ran down the hall” grabs my attention. Neil Young wrote this beautiful song. Gregg Allman cornered Neil backstage somewhere in the 2000s and pleaded with him to start playing this song again. He did when Buffalo Springfield reformed. 

Care Of Cell 44 – The Zombies

This is one of my favorite pop songs of the 1960s. The vocals are reminiscent of the Beach Boys. It’s a sunny and bright song musically about a guy writing to his girl…in prison. The song doesn’t express or explain why she is in prison just that he will be with her when her stay is over.

The song is arranged beautifully. with the vocal-only arrangements, You can hear Brian Wilson and Paul McCartney’s influence on this recording. Chris White’s (Zombies bass player) bass playing is phenomenal in this song.

It is on the album Odessey and Oracle, one of the best albums of the sixties. The hit song on the album is Time of the Season but it is full of great songs. It charted a year after it was released at #95 in the Billboard 200 album charts in 1969. The song/album would be on my desert island list.

Head Cat – Fool’s Paradise… album review

I don’t do many album reviews, but this one, I had to write something. I spent this weekend totally locked in on this 2006 album, having it on my computer and phone. It’s a fun rockabilly album well done, and the song selection is terrific. I was going to review another artist, but I got stuck on this one, so I’ll post him next weekend. After the Motörhead post on Friday, CB brought up a rockabilly band that Lemmy was in. I was surprised, to say the least, because I didn’t remember this from the documentary but it’s been a while. I love what I heard. 

I don’t skip tracks because one is as good as the other. There is a bounciness to this album…if that is a word. I could have written a one-word review… FUN

Let’s get with the members of this band. On drums, you have Slim Jim Phantom from the Stray Cats. This man pops up everywhere by the way. On Guitar and piano, you have a rockabilly guitarist named Danny B. Harvey. On bass you have Lemmy Kilmister taking a break from Motörhead to play some rockabilly. His voice fits this music well. 

The origins of The Head Cat trace back to a casual collaboration. Lemmy Kilmister, Slim Jim Phantom, and Danny B. Harvey teamed up in 1999 to record a tribute album to Elvis Presley, titled Swing Cats: A Special Tribute to Elvis. The band’s name? Can you guess? Combining Motörhead and The Stray Cats. They released 6 studio and live albums combined. 

They didn’t always pick the most popular rockabilly songs which I love. You have Buddy Holly, Eddie Cochran, Jimmy Reed, and The Crickets songs on this album. Rather than covering Peggy Sue, they cover Peggy Sue Got Married instead which personally I like more. You have a Buddy Holly title cut Fool’s Paradise. You also have Crying, Waiting, Hoping, Not Fade Away, and one of my favorite Holly songs in Well…All Right. 

The reason this and other similar rockabilly albums work is because 1:  The musicians love this type of music and…that damn word again…FUN. 2: The songs are simple and that is not a put-down but they don’t have 12 chords and studio tricks. The songs sound good on backyard porches and would sound great in the Royal Albert Hall or Ryman Auditorium. I think music has moved too far away from this style. 3: When I said these songs were simple I was NOT implying they are easy to play right…on the contrary because you have no distortion box or tricks to hide behind. It takes pure musicians and a love for this music to play it right. These guys grew up with this music so they pour their heart into it. 

I’ll get off my soapbox now but how I wish I would have had this music growing up. I didn’t grow up in this era when the songs were real time but I see why all of the great artists I like… cling to this music. Everyone from The Beatles, Led Zeppelin, The Who, Stones, Springsteen, Dylan, and The Kinks spent their career trying to recapture the spirit in these wonderful songs. The Head Cat did a great job!

Here is the tracklist:

1 Fool’s Paradise
2 Tell Me How
3 You Got Me Dizzy
4 Not Fade Away
5 Cut Across Shorty
6 Lawdy Miss Clawdy
7 Take Your Time
8 Well…All Right
9 Trying To Get To You
10 Learning The Game
11 Peggy Sue Got Married
12 Crying, Waiting, Hoping
13 Love’s Made A Fool To You
14 Big River
15 Matchbox

If you want the complete album on YouTube…here is the link

Well…All Right

Well, alright, so I’m being foolish
Well, alright, let people know
About the dreams I know that you wish
In the night when lights are low

Well, alright, well, alright
We’ll live and love with all our might
Well, alright, well, alright
Our lifetime love will be alright

Well, alright, so I’m going steady
It’s alright, let people say
That those foolish kids can’t be ready
For the love that comes their way

Well, alright, well, alright
We’ll live and love with all our might
Well, alright, well, alright
Our lifetime love will be alright

Well, alright, well, alright
You know we’ll live and love with all our might
Well, alright, well, alright
You know our lifetime love will be alright

….

Maryann Price – Sweetheart (Waitress in a Donut Shop)

If that title looks familiar, we covered Maria Muldaur yesterday with her album Waitress in a Donut Shop. This is where Muldaur got the name for it. She released it a year after this version by Dan Hicks and His Hot Licks. Dan didn’t sing this but Maryann Price did. Her voice is very unique when she gets going. She doesn’t sound like everyone else.

Because of Christian, Randy, and CB, I have been really connecting with the jazz songs they have posted in the past and talked about. This is why I still blog because I love expanding my musical range and tastes. I will have to admit…as much as I like Maria Muldaur’s version of it…this version swings a little more.

I knew nothing about her until in the past few weeks when CB told me about Dan Hicks and his band The Hot Licks. She can easily cross genres and do about anything from Jazz to Pop to Swing. She has worked in many bands from Dan Hicks and The Hot Licks, Asleep At The Wheel, The Kinks, and more. I like her because she is different and caught my attention. Let’s find out a little about her.

At the age of 17, she was singing commercial jingles in her hometown of Baltimore. She moved on to sing jazz in Las Vegas and then moved to San Francisco in 1969. She soon joined Dan Hicks and The Hot Licks and along with Naomi Ruth Eisenberg (“The Lickettes”) as singers. 

The Licketts
Naomi Ruth Eisenberg and Maryann Price

In 1973 the band broke up and when they did…Ray Davies pounced on that opportunity. Davies asked her to come to England and record with the band. She stayed with the Kink’s for a year, touring extensively and recording…she sang on the album Preservation Act 2. When that was finished she returned to America and formed the Girtones with former Dan Hicks and The Hot Licks guitarist John Girton. In 1980 she joined the Texas band Asleep At The Wheel. 
 She has since gone on to a successful solo career based in Austin, Texas, and also reunited with Naomi Ruth Eisenberg for a live album in 2004 called Live At The Freight + Salvage.

Now back to the song at hand. This was on the Dan Hicks and His Hot Licks album Last Train To Hicksville released in 1973. I’ve been listening to this album on Saturday and it’s a combination of all kinds of music with Dan and the Licketts singing. I hear swing, jazz, pop, and more. The musicianship on this album is top-notch. The song was written by the songwriter Ken Burgan. Maryann is still going strong in Austin Texas.

Sweetheart (Waitress in a Donut Shop)

Sweetheart, but it doesn’t beat for meIt beats softly in love but not for meSweet lips I know I’ll never kissYou’re what I’m afraid I must miss

I’m a waitress in the donut shopI see him on his morning stopHe talks of love but he’s thinking of his sweetheartShe gives him a rough time

He gives me his dime and then partsSoft sighs, soft and pretty moansIn dreams I can make you my own

I’m a waitress in the donut shopI see him on his morning stopHe talks of love but he’s talking about his sweetheartShe gives him a rough time

He gives me his dime and then partsSoft sighs, soft and pretty moansIn dreams I can make you my ownIn dreams I can make you my own

Raspberries – I Wanna Be With You

This song is for Song Lyric Sunday for Jim Adams’s blog. This week’s prompt is (drum roll please…) a forgotten band. I picked The Raspberries but also talked about Badfinger and Big Star. 

I still remember the first time I heard this song on AM radio. I must have been around 7 or 8, walking into my sister’s wood-paneled room. It was playing on WMAK, a station I’ll never forget. The disc jockey, Coyote McCloud, was a legend in Nashville back in the early seventies—everyone tuned in to hear him. It’s funny how clearly I can recall that moment like it was just yesterday.

I wasn’t lucky enough to be a teenager in the 1970s, but whenever I listen to The Raspberries, it feels like I’m transported back in time. I can picture myself in 1973, driving my first car with their greatest hits blasting, feeling the freedom and excitement of the era. The music has a way of making it real.

I’ve always considered the top three power pop bands to be Big Star, Badfinger, and The Raspberries. Together, they captured everything that makes power pop great… soaring vocals, great melodies, and that perfect balance of guitar crunch and jangle. What an incredible time for the genre, with all three bands active at the same moment in history. They may not have found the level of commercial success they deserved, but their influence on music has been huge. 

These bands didn’t just define power pop… they set the standard for what the genre could be. Badfinger and The Raspberries managed to crack the Top 20 a few times, but Big Star didn’t even get that far…which is nothing short of a crime. Bands like Cheap Trick, Tom Petty, KISS, REM, The Cars, and The Replacements owe them a lot. These three bands do pop up every once in a while. The Raspberries Go All The Way was in the Guardians of the Galaxy movie, Badfinger’s Baby Blue was in the last episode of Breaking Bad, and Big Star’s In The Street was the theme song to That Seventies Show. 

The Raspberries were more than just a band…they were a Cleveland supergroup, formed from the city’s best local acts. The lineup was indeed super… Eric Carmen as the lead singer and rhythm guitarist, Wally Bryson on lead guitar with his signature crunchy riffs, Jim Bonfanti on drums, and Dave Smalley on bass. Their sound was a seamless blend of their influences—The Beatles, The Who, The Kinks, and The Beach Boys—woven together into power pop perfection.

The Raspberries did have 7 singles to chart and 4 top forty hits with I Wanna Be With You being one of them. This song peaked at #16 on the Billboard 100 and #17 in Canada in 1973.  It was the first single from their second LP, Fresh.[It became their second-greatest US hit. They broke up in 1975 after releasing their album Starting Over. Eric Carmen wrote this song. 

Their best-known song was Go All The Way which peaked at #5 in 1972. 

Alex Chilton (Big Star): “I remember when I first heard the Raspberries, Big Star was in a van traveling around doing some dates and we heard Go All the Way on the radio, and we said, ‘Wow, those guys are really doing it!’ I thought that was a great song.”

 

I Wanna Be With You

If we were older we wouldn’t have to be worried tonight
Baby oh I want to be with you so bad
Oh baby I want to be with you
Oh yeah?
Well tonight tonight we always knew it would feel so right
So come oh baby, I just want to be with you

Someday’s a long time and we’ve been waiting so long to be here
Baby oh I want to be with you so bad
Oh baby I want to be with you
Oh yeah?
Well tonight tonight we always knew it would feel so right
So come oh baby, I just want to be with you

Hold me tight our love could live forever after tonight
If you believe in what you’re doing is right
Close your eyes and be still

Baby, oh I want to be with you so bad
Oh baby I want to be with you
Oh yeah?
Well tonight tonight we always knew it would feel so right
So come oh baby, I just want to be with you

Oh I want to be with you so bad
Oh baby I want to be with you
Oh yeah?
Baby I want to be with you so bad

 

 

 

Dave Alvin – Far Away

I pulled up Dave Alvin’s debut album Romeo’s Escape released in 1987 and heard this song among many of the others. This one I liked right away. He had some great musicians on here including Al Kooper on keyboards. This guy seems to be everywhere in every decade.

After CB recommended The Blasters I’ve followed him around and he pops up everywhere with different bands and performers. The man is a great guitar player needless to say, but his vocals and songwriting are almost equal to it. 

Dave Alvin launched his solo career with this record with a blend of roots rock, rockabilly, country, and blues influences. While his brother continued to handle lead vocals for The Blasters, Dave stepped into the spotlight, taking on all vocal duties for the first time. The album was produced by Steve Berlin of Los Lobos and Mark Linett.

This album is pure Americana which fits me perfectly. I started looking at his discography and he has played with so many artists. Artists like The Blasters, X, Los Lobos, Tom Waits, The Knitters, The Pleasure Barons, Gene Taylor, and The Third Man Blind…not even mention the albums he did with his brother

Although Dave Alvin never achieved massive commercial success, he has cultivated a following and is highly respected in the music world. In 2000, he earned a Grammy Award for Best Contemporary Folk Album with Public Domain: Songs from the Wild Land.

A few weeks ago I posted Justified the tv show. Here is Dave Alvin & The Guilty Ones doing Harlan County Line from the show. 

Maria Muldaur – Trouble In Mind

I was listening to Maria Muldaur and this song popped up in the recommended songs. I usually only do studio cuts but this one was just too good.  I had to post this because what a band and what a groove these musicians have. I love the way she sounds here and she lets it go. The backing band is tremendous. You have Leon Russell, Maria Muldaur, Bonnie Raitt, and Willie Nelson. How better of a band could you ask for? You will also get a two-for-one today…I’m including a song by her called I’m A Woman.

Maria Muldaur…all I knew from her was the pop song Midnight At The Oasis…it is a brilliant pop song but the more I listened…the more I was surprised. I saw her sing with Dan Hicks and other artists and when I dug into her history the more I was impressed.

She became a part of the Greenwich Village folk music scene in the early 1960s. She was part of The Even Dozen Jug Band and later with the Jim Kweskin Jug Band. She got into so many different types of music like blues, gospel, R&B, jazz, and big band music. Her influences were the best… Bessie Smith and Memphis Minnie are two of them.

Jimmy Page and Robert Plant were huge fans and she has worked with the best. Jerry Garcia, Paul Butterfield, Linda Ronstadt, Elvin Bishop, The Doobie Brothers, Wendy Waldman, and more. She has released over 40 solo albums starting in 1973 and that is not counting her earlier band albums with The Even Dozen Jug Band, Jim Kweskin and The Jug Band, and with her then-husband Geoff Muldaur. When you add those…the number gets into the 50s.

The song I’m A Woman appeared on her 1974 album Waitress in a Donut Shop. I’ve been listening to that album and it’s one that I would recommend everyone checking out. The album did well…it peaked at #23 on the Billboard Album Charts in 1974.

I’m going to close with this. Many times an artist is defined by their major hit…that does an injustice on Muldaur. That is not a putdown on “Midnight at the Oasis”…I think it’s brilliant… but she is so much more than that. I’ve never been into awards but she has been nominated for 5 Grammy Awards.

Stiff Records Week – Nick Lowe – Halfway To Paradise

How cool was it that Motörhead and Nick Lowe were labelmates? That shows you the diverse talent in Stiff Records. 

I’m going to wrap it up this week with some Nick Lowe. This was his second and last single for Stiff Records. You know what? I don’t think I’ve ever heard a Nick Lowe song I didn’t like. I was going to include The Damned and Lene Lovich this week but they will be coming soon. A blogger named Warren asked about Lene Lovich and I will have a post on her in the coming weeks…thank you Warren for the suggestion. I already had today’s posts written. 

Listening to this song and I’m struck by backup vocals going on. He paints a sound picture with layers of backups with a simple musical structure. Yes…I get really excited by power pop (hence the blog’s name) done right and Lowe does it right. When you listen to this song…it fits in so well with Lowes catalog that I would have thought he wrote it. But this is some Brill Building brilliance here made better by Lowe. Simple yet so likable.

Carole King and Gerry Goffin wrote the song. Tony Orlando first recorded it in 1961, peaking at #39 on the U.S. Billboard Hot 100 and Billy Fury recorded it as well. This Lowe version was later included as a bonus track on re-releasing his 1978 album, “Jesus of Cool.” 

I hope you enjoyed this week and these posts might have introduced you to a new song. I have a new appreciation for this record label…what they were able to do and the talent they found. In the middle of disco, Led Zeppelin, reggae, Pink Floyd, and other types of music…Stiff Records made a home for these different type of artists to flourish…thank you all for reading.

And remember Stiff Records… If it ain’t stiff it ain’t worth a f***

A short bio on Nick Lowe talking about his career I thought you might like. Have a great weekend!

Halfway To Paradise

I want to be your loverBut your friend is all I’ve stayedI’m only halfway to paradiseSo near, yet so far away

I long for your lips to kiss my lipsBut just when I think they mayYou lead me halfway to paradiseSo near, yet so far away, mmm

Bein’ close to you is almost heaven (heaven)But seein’ you can do just so muchIt hurts me so to know your heart’s a treasure (treasure)And that my heart is forbidden to touch, so

Put your sweet lips close to my lipsAnd tell me that’s where they’re gonna stayDon’t lead me halfway to paradiseMmm, so near, yet so far away

Oh, uh, oh so near, yet so far awayYeah, yeah so near, yet so far away

Stiff Records Week – Motörhead – White Line Fever

I had no clue Motörhead was on Stiff Records but here they are! They did not mess around about turning it up either. It’s everything you would think Motörhead would be…bombastic and in your face. We are going to extend the Stiff Records Week to one more post after this coming in the next hour. 

In 1976, Motörhead was struggling to gain traction in the music business. Their manager, Douglas Smith, helped secure a one-off deal with Stiff Records because they featured unconventional artists. The deal with Stiff Records aimed to produce a single, and the band recorded three tracks: White Line Fever, Leaving Here, and Instro.

The label didn’t release this single right away…they thought the band was too loud and abrasive. They didn’t release it until the end of 1977 on the album A Bunch of Stiff Records. Which was basically a compilation album with the label’s early signings. There was just a promo single of the song. Another label released it in 1993.

I’ve really started to appreciate Motörhead more and more…Lemmy was awesome. He is one of the best interviews you will see. He was who he was and he wasn’t changing for anyone. He reminds me a little of Keith Richards…but a rougher version.

He was a roadie for Jimi Hendrix, played with Hawkwind, and later formed his band…Motörhead. They took punk and heavy metal and cross-pollinated the two forms in some ways.

I recommend you see a documentary on Lemmy. Even if you are not a fan, you will like it. 

White Line Fever

We can move around nowYou know it’s so goodBut I know you wouldn’t come clean now, babyEven if you couldwhite line fever

White line fever made me a believer nowWhite line fever, yeahTake me away from youJust come to me babeWe can stay right hereBut you don’t remember me, honey, ’cause of all you’ve done this yearWhite line fever

We’re gonna make you a dreamerWhite line fever, yeahIt’s a slow deathHey

Bye, bye, bye baby‘Cause there I comeWon’t go to sleep tonightBecause the white line turns me on

White line feverMade me a believerWhite line fever, yeahIt hasn’t killed me yetOh

Stiff Records Week – He Said, She Said

I want to thank Dave from A Sound Day for contributing this post for this series. Dave was the first one to really open my eyes to this very different record label and the pop culture importance of it…as well as music. 

Thanks so much, Max, for inviting me to take part in this special event and for having the idea in the first place.

Stiff Records really were something special back in the day. A little indie label with memorable taglines (“if it ain’t Stiff, it ain’t worth a ****”) that could be seen on buttons and t-shirts in all the cool, low-rent record shops in the ’80s, and a great but variable roster of talented artists that included (at times) Ian Dury & the Blockheads, Ian Gomm, Dave Stewart, Madness, Nick Lowe, the Damned, Tracey Ullman and so many more. It truly was a special part of the British music scene in the late-’70s and ’80s and the whole scene there was unusual. We have indie record labels over here too, but few ever send out a hit record or make much real impact. Over there, though… boy! Big name acts like New Order and the Smiths were on little indie labels and selling millions. It helped keep the creativity going in my opinion, as those little labels tended to offer a lot more freedom to their artists than some of the big, multi-national ones did or do to this day.

Anyway, I’m going to pull a wee bit of a trick on Max here and squeeze in two songs in the one post. You’ll see why. It’s kind of a “he said, she said” affair.  I had a lot of fine songs that I thought about choosing, but I opted for one of my favorites of the ’80s. Or two of my favorites of the ’80s : “A New England”. By Billy Bragg, but also, and more relevantly for our purposes here, Kirsty MacColl.

The song is a song of a couple breaking up, wishing the other would just care a little more. Billy wrote it and performed it first, in 1979 on his debut album, Life’s A Riot With Spy Vs Spy (a great title I might add) . He said he was inspired by seeing two satellites in the night sky once when walking home from a pub… which led to one of my favorite lines in pop – “I saw two shooting stars last night, I wished on them, but they were only satellites! It’s wrong to wish on space hardware, I wish, I wish you’d care.”  Interestingly, he admits the first two lines of the song (“I was 21 years when I wrote this song, I’m 22 now but won’t be for long”) were taken directly from a Simon & Garfunkel song. He’s a fan of theirs as it turns out and he liked giving them a musical tip of the cap. Bragg did the song in a very sparse, stark manner and as you might guess, it was only him and his guitar on the record. That’s all.

Fast forward about four years and there’s Kirsty MacColl. She’d had the biggest hit record that wasn’t a hit with her debut single, “They Don’t Know”. The BBC loved it, and the public did too and it hit #2 on British charts based on airplay. But Stiff didn’t have good distribution AND there was a strike of some sort, so bottom line was, the single didn’t arrive in stores nor on the singles chart.  Probably little surprise she moved on to Virgin Records instead by the time of her first album, which was in 1981.

In 1983-84, her friend, comedienne Tracey Ullman put out her debut album and her take on “They Don’t Know” (on which Kirsty sings the high-pitched “bab-yeee”)  which became a hit over here. MacColl was seemingly biding her time between albums, doing some backing vocals for the Smiths and Simple Minds and helping her then- husband, Steve Lillywhite, do things in the studio including mixing a couple of songs on U2’s The Joshua Tree a little later on. 

She somehow got back together with Stiff and decided to put out a couple of standalone singles… one of which was “A New England.”

She loved the song and said “I always thought it would be great with loads of harmonies.” She noted she liked Bragg’s version but “Billy does it … like a busker doing a really good Beatles song.” She also felt the song, 2:14” in Billy’s hands, was a wee bit short… so Bragg agreed to write more to it for her! That included a new verse at the end with the fine snipe “once upon a time at home, I sat beside the telephone waiting for someone to pull me through, when at last it didn’t ring, I knew it wasn’t you”.

Unfortunately, as a single, no one seemed to note who performed on the song, but clearly it was much fleshed out from Bragg’s original. Given her connections and husband Lillywhite’s (who produced it), we might imagine there could be some real sta r power behind her on it.

The song took off and made it to #7 over there and #8 in Ireland… by far her best showing not counting her counter-culture favorite Christmas song “A Fairytale Of New York” which she did with the Pogues. Over here, it didn’t break the charts but did make the year-end best-ofs on cool stations like CFNY Toronto and KROQ in L.A.  Bragg was happy too, saying “I never thought Kirsty MacColl would put it in the top 10.”

MacColl would put out a couple of albums later on and have some more minor success but mostly from then on won her contemporaries over more than the public. Bono says of her she is “one of a long line of great English songwriters that includes Ray Davies, Paul Weller and Morrissey.” And speaking of the Smiths front man, he said Kirsty “has great songs and a crackin’ bust!”  Who knew Morrissey noticed things like that? Not me!

Sadly, there was no happy ending to the Kirsty story. She was killed in Mexico in 2000 while snorkeling with her kids, run over by a speeding boat. It sounds like black humor but was true and she apparently died pushing one of her children out of harm’s way. It’s quite a scandal, as the boat was owned by a Mexican millionaire many think was responsible, but he deflected blame to one of his lackeys. There are several good, but sad, documentaries about it if you care to check that out, or check out the article below.

I can’t really decide if I like Billy’s “A New England” or Kirsty’s better. I love them both. And really love that there was so much good music coming out of Britain in the ’80s, often on tiny labels like Stiff.

Thanks again, Max… and Stiff!

https://www.alixkirsta.com/articles/kirstymaccoll/index.htm

Stiff Records Week – Ian Dury – Sweet Gene Vincent

Shall I mourn you decline with some thunderbird wineAnd a black hankercheif?I miss your sad Virginia whisperI miss the voice that called my heart

This song serves as a tribute to the American rock ‘n’ roll singer Gene Vincent, whom Dury was a fan from his teenage years. Dury’s love for Vincent began after hearing “Be-Bop-A-Lula” in the 1956 film The Girl Can’t Help It, and he remained a devoted fan throughout his life.

If you had to write a song about a great rock and roll legend…Vincent would be the guy. To get it right…Dury spent six weeks researching Vincent’s life, reading two biographies to write the song’s lyrics. His songwriting partner with this song was Chaz Jankel. Jankel has said he had to cut out a lot of lyrics otherwise it would have lasted 15 minutes. He also had references to some of Vincent’s songs. 

Chaz Jankel was in a former band with Dury called The Kilburns and when they disbanded…he got together with Ian Dury as a co-songwriter. They wrote the band’s most successful single Hit Me With Your Rhythm Stick, reaching number one on the UK Singles Chart in January 1979 as well as reaching the top three in Ireland, Australia, and New Zealand.

This song was released in 1977 from the album New Boots and Panties!! The song didn’t chart but the album peaked at #5 in the UK, #7 in New Zealand, and #168 on the Billboard Album Chart.

Sweet Gene Vincent

Blue gene babySkinny white sailor, the chances were slenderThe beauties were breifShall I mourn you decline with some thunderbird wineAnd a black hankercheif?I miss your sad Virginia whisperI miss the voice that called my heart

Sweet gene vincentYoung and old and goneSweet gene vincent

Who, who, who slapped john?White face, black shirtWhite socks, black shoesBlack hair, white stratBled white, died black

Sweet gene vincentLet the blue roll tonightAt the sock hop ball in the union hallWhere the bop is there delight

Here come duck-tailed Danny dragging Uncanny AnnieShe’s tehone with the flying feetYou can break the peace daddy sickle greaseThe beat is reet completeAnd you jump back honey in the dungereesTight sweater and a ponny tailWill you guess her age when she comes back stage?The hoodlems bite their nails

Black gloves, white frostBlack crepe, white leadWhite sheet, black knightJet black, dead white

Sweet gene vincentThere’s one in every townAnd the devil drives ’till the hurse arrivesAnd you lay that pistol down

Sweet gene vincentThere’s nowhere left to hideWith lazy skin and ash-tray eyesA perforated pride

So farewell mademoiselle, knicker-bocker hotelFarewell to money owedBut when your leg still hurts and you need more shirtsYou got to get back on the road

Stiff Records Week – Kirsty MacColl – They Don’t Know

I want to thank Randy from mostlymusiccovers for contributing this post!

When Max asked for a contribution to his Stiff Records week both his and mine default thought was to go with Nick Lowe, one of my most treasured artists. Nick was a big part of the success of that label as short-lived as it was. Stiff Records signed the 18-year-old Kirsty MacColl in 1979. Kirsty did not work with Lowe, and unfortunately, she was not treated well while there and left after just a year. But her story is one I think you should know. I want to thank Max for this opportunity to talk a little bit about her, even as I colour outside the lines from her brief brush with Stiff Records.

To demonstrate her experience while there I will say, she wrote this great song, recorded it and then the label messed around with the mixing of it. The release was delayed in part because Dave Robinson the label President, for whatever reason took a dislike to the otherwise very well-liked Kirsty. Stiff’s distribution centre went on strike at the time her record was to be shipped out and consequently, the radio stations had only the demo and no one could buy the record. Needless to say the song did not do well. Her next song was badly bungled as well and “You Caught Me Out” was shelved by the label. It was released in 2006 on The Stiff Singles Collection.

So age 19, she would move on to some success as a solo artist with five albums and charting a few songs. Like this one she wrote and released in 1981, “There’s a Guy Works down the Chip Shop, Swears He’s Elvis”. But otherwise she was in high demand as a session/background singer. Kirsty would also team up with The Pogues. They had been with Stiff for their first two albums in 1984 and 85. Coincidentally during that time they had a hit covering one of Kristy’s father’s songs, “Dirty Old Town”.

The Pogues had a messy departure from Stiff when it collapsed, and a year later Kirsty and was brought in as a feature vocalist on their enduring hit song “Fairytale of New York”, released in 1987. Although Kirsty’s voice was later over-dubbed in spots as the BBC and Top of the Pops forced the editing out of the word’s “slut” sung by Shane MacGowan and her saying “faggot” in response, words that reflected the time that the songs storyline takes place. Since then the original unedited version that is on the record is frequently heard. It is reportedly the most-played Christmas song of the 21st century in the UK.

Sometimes you just can’t keep a good song down and “They Don’t Know” was recorded by Tracey Ullman in 1983. Ullman was a fan of Kirsty and would record some of her other songs. None would have the same success as this new version that reached #2 in the UK and #8 in the US. It went to #1 in Ireland and Norway and charted well in several other countries, including a #5 ranking in Canada.

So some good came from her short stay with Stiff Records, and I think she did ok with the royalties from the song. Kirsty was the daughter of the well-known recording artist Ewan MacColl. He wrote among many songs, “The First Time Ever I Saw Your Face” as a love song to Peggy Seeger with whom he was busy having an affair and a child. Kirsty was raised by her mother.

Kirsty would marry and divorce but had two boys. While they and her boyfriend James Knight were on vacation in Mexico in December of 2000, at age 41 she was tragically killed. A speed boat violated warnings to avoid a clearly designated diving and swimming area. They were there with a local veteran divemaster. As they were all surfacing from a dive, Kirsty heroically saved the life of her 15-year-old son who she could see was in direct line of the oncoming boat. She pushed him out of the way, and he received a glancing blow, Kirsty was hit directly and died instantly.

The boat was piloted by a very wealthy Mexican businessman and initially, they ruled her death as accidental. Her family and friends put on enough pressure that a so-called ‘investigation’ was launched. An employee was paid to take the blame and was sentenced to prison but was able to avoid it with a small fine. Sorry to end on that heartbreak.

It’s a shame things didn’t work out with her time at Stiff. By all accounts, she was a beautiful person with a voice to match.

Stiff Records Week – Elvis Costello – Watching The Detectives

 I was around 11 walking through a drug store in the late seventies and I saw this album cover…I thought what? Another person named Elvis? Who is this skinny guy?

Image result for elvis costello my aim is true cover

While at the drug store, the guy was playing this album for the entire store and I heard Alison… That was the first thing I ever heard from Elvis from his debut album My Aim Is True. Later on, I would get the album and I knew this guy was different. He would blend punk, reggae, pop, pub rock, and new wave.

This song was inspired by Costello’s experience of staying awake for 36 hours, during which he listened repeatedly to The Clash’s debut album. Initially unimpressed, he grew to appreciate it after many listens. He stayed up by consuming an entire jar of instant coffee and that led to the creation of Watching The Detectives. 

Costello has said that Watching the Detectives was a favorite of his from the early years of his career. He also experimented with different arrangements of the song, including a big band version with Allen Toussaint to capture the film qualities and swing rhythms of 1950s detective shows. 

Before recording the album, Costello worked as a computer operator while performing in pubs and writing songs. He sent demo tapes to different record labels but initially received little interest. Costello caught the attention of Jake Riviera, co-founder of Stiff Records known for his edgy approach. Riviera saw potential in Costello’s demos and signed him.

My Aim is True was released in 1977 and peaked at #14 in the UK, #32 on the Billboard Album Charts, #24 in Canada, and #32 in New Zealand. The song peaked at #15 in the UK and #60 in Canada. 

Elvis Costello: “When we did ‘Watching the Detectives,’ it was the first record that Steve Nieve played on. He was 19, straight out of the Royal College, and we’d only just met. I said, ‘This is about detectives, I want a piano thing that sounds like Bernard Hermann,’ and, of course, he didn’t know what I’m talking about, so I go [makes staccato, sharp sound], and what you hear on the record is this galloping piano thing that rushes the beat and it sounds like one of those sudden jarring gestures that Hermann would use a lot. But we didn’t have 19 clarinets or whatever he used [in] Torn Curtain; we just had a battered upright in an eight-track studio. What you imagine you have to render whether you use a fuzz-tone guitar or a symphony orchestra and everything in between.”

Elvis Costello: “I spent a lot of time with just a big jar of instant coffee and the first Clash album, listening to it over and over. By the time I got down to the last few grains, I had written ‘Watching the Detectives.’”

Watching the Detectives

Nice girls, not one with a defectCellophane shrink-wrapped, so correctRed dogs under illegal legsShe looks so good that he gets down and begs

She is watching the detectives“Ooh, it’s so cute”She’s watching the detectivesWhen they shoot, shoot, shoot, shootThey beat him up until the teardrops startBut he can’t be wounded ’cause he’s got no heart

Long shot of that jumping signInvisible shivers running down my spineCut to baby taking off her clothesClose-up of the sign that says: “We never close”

You snatch a chill and you match a cigaretteShe pulls the eyes out with a face like a magnetI don’t know how much more of this I can takeShe’s filing her nails while they’re dragging the lake

She is watching the detectives“Oh, he’s so cute”She is watching the detectivesOh, and they shoot, shoot, shoot, shootThey beat him up until the teardrops startBut he can’t be wounded ’cause he’s got no heart

You think you’re alone until you realize you’re in itNow baby’s here to stay, love is here for a visitThey call it instant justice when it’s past the legal limitSomeone’s scratching at the window, I wonder, who is it?

The detectives come to check if you belong to the parentsWho are ready to hear the worst about their daughter’s disappearanceThough it nearly took a miracle to get you to stayIt only took my little fingers to blow you away

Just like watching the detectivesDon’t get cuteJust like watching the detectivesI get so angry when the teardrops startBut he can’t be wounded ’cause he’s got no heart

Watching the detectivesIt’s just like watching the detectivesWatching the detectivesWatching the detectivesWatching the detectivesWe’re watching the detectivesThey’re watching the detectivesWatching the detectivesWatching the detectives

Stiff Records

This week I’m going to tip the proverbial cap to the pioneering Stiff Records which was an independent Record Company that helped a lot of artists in the UK. I’ll be posting a song each day off that label. This week I’ve written up 3 songs and Randy and Dave are going to contribute two songs. I really appreciate them for doing that. 

Stiff Records gave you an alternative to the Top 40. They would take chances on performers than the established record companies wouldn’t take. Who would have taken a chance on a nerdy-looking fellow named Elvis Costello? Many of the artists didn’t fit in with the major labels’ idea of what an artist should sound or look like. They had their own unique roster of talent. 

This could be a mile-long post but I’m going to keep it short. This record company was created in 1976 by Dave Robinson and Jake Riviera. The label was created to capitalize on the new punk and new wave scenes, providing an alternative to the major record companies. They used bold marketing tactics…their slogan was “If It Ain’t Stiff, It Ain’t Worth a F***. The company didn’t have a lot of money but they had plenty of ideas. 

Stiff REcords people

They signed a lot of talent and that talent is what we are going over this week. I wanted to do a week of Stiff Records and let’s see what we will find. The talent was Elvis Costello, Nick Lowe, Ian Dury and The Blockheads, The Rumour, Madness, The Damned, Motorhead, Devo and even Tracey Ullman. 

Jake Riviera left in 1978 to form Radar Records, taking Elvis Costello and Nick Lowe with him. Despite its success, the label faced financial difficulties in the early 1980s. Stiff was sold to Island Records in 1984, which marked the end of its independent era.

Stiff Records was revived in the 2000s by ZTT Records (Zang Tumb Tuum), releasing new music while managing its extensive back catalog.

Nike Lowe: The pop business was full of these dreadful groups, Genesis and Journey and REO Speedwagon and people like that. And it was all safe and run by these bean counters and know-nothings. That’s why, over here, the pub rock thing started up. When punk came along a few years later, that was the thing that it really needed, but I would say that pub rock was spawned for the same reasons — dissatisfaction that it was all rubbish and needed to be pulled down. Because it had gotten to a point where you just couldn’t have another concept album or triple bullshit thing.