Being, quite literally, disgusted ("Goodnight Tonight" ?! "Say Say Say" ??!! "Temporary Secretary" ???!!! - Y'all can't be serious!) with the recent, so-called "Paul McCartney's 40 Greatest Solo Songs" in Rolling Stone magazine (OK, so it's Jann Wenner and who exactly has taken that guy seriously since the early '70s?), I decided to make my own list. Except it's a Top 45. And it's in chronological order, and ballad-heavy during the '80s. So what else is new? It's classic Macca!
OK, these days when I'm not busy reading Åsa Larsson novels, I am listening to some music. So what else is new? Although, preferably, I like doing both at the same time. And lately it's been Brendan Benson's latest, "What Kind of World" (2012), which has been on repeat play over at mi casa.
I first became aware of Brendan sometime back in the late '90s when his first solo album, "One Mississippi" (1996), for some reason or the other came into my possession. Albeit briefly, since I didn't care too much for it at the time.
Therefore his sophomore effort, "Lapalco" (2002), completely and utterly passed me by. But I have since become appreciative of a brilliant track, "Folk Singer", from that exact album which makes a reappraisal a definitive possibility in the not-too-distant future.
But the Benson breakthrough, as far as I'm concerned, came in 2005 when I heard - and purchased...and loved - "The Alternative to Love" album. A minor Power Pop masterpiece which somehow, unusually, owed a lot less to the past as to the (then) present. If that makes any sense at all.
Next up was, yuk, "super group" side (Read: vanity) project The Raconteurs. Apparently Jack White, he of the White Stripes, was a fan and roped Benson in as a co-conspirator of said side/vanity project. And, somewhat surprisingly (OK, you can tell I'm not the biggest White Stripes/Jack White fan around), their first album, "Broken Boy Soldiers" (2006), was pretty good. Disappointingly, their second, "Consolers of the Lonely" (2008) was less so, though. An unfocused mess, truth be told.
Wisely, a year later, Benson was back on track with his fourth solo set, "My Old, Familiar Friend". Famous, overrated friends or not, it's always best to stick with what you know (and do) best.
And then last year (2012, to be precise and absolutely accurate here), Brendan Benson delivered his finest set of songs to date. "What Kind of World" is that rare and unusual breed of a record where every song possesses its own unique appeal, yet somehow makes so much sense as a piece of the whole puzzle...or the concept, if you will Think, for the lack of a better comparison, (Gasp!) "Pet Sounds" for the modern man. From the playful Power Pop of "Happy Most of the Time" to the haunting wistfulness of duet (With Ashley Monroe) "Pretty Baby", "What Kind of World" is a constant and satisfying surprise throughout. An absolute and uninterrupted joy!
So why - in all probability - haven't you heard anything about this album before reading this? And why didn't we see it on any of last year's "Best of" lists by the music critics of this world? Why, indeed? Could it be simply because Brendan Benson, in spite of - or perhaps because of - reaching his full maturity so "late" in the game, isn't exactly the new kid on the block anymore, and, therefore, consequently, is no longer considered to be one of the cool kids? The flavour of the month makes the world go around, eh? Well, fuck that! Never mind the snobs, it's a great record.
Brendan Benson is touring Europe right now. If I wasn't on the fringes, on the outskirts, of the region, I wouldn't miss that...
Arguably, TRB's "Power in the Darkness" (1978) is one of the finest debut albums in the history of popular music. In my humble opinion at least. Never mind the classic rock radio staple (The phenomenal "2-4-6-8 Motorway"), which, by the way, is NOT included on the original LP - it's just a cracking rock album, chock full of anthems and energy...as such albums should be.
So why isn't it more widely lauded then? Well, wrongly pigeonholed in with the burgeoning Punk/New Wave movement of the time could have had a little something to do with it. After all, TRB wore flares - a Punk no-no - and had a Hammond organ-player in their midst...although the Stranglers also had one of those. Furthermore, perhaps, the gay rights posturing/preaching may have been a factor. Say what you like about Tom Robinson, but he was/is never one to shy away from a topic close to his heart and mind. Just take a listen to the unforgettable (You have been warned: A '60s hippie term coming up) 'protest song' "(Sing If You're) Glad to be Gay" (Again, NOT on the album!) to find out...
Produced by then-recent Sex Pistols/The Clash accomplice Chris Thomas, "PITD" packs a powerful punch. "Long Hot Summer", "Ain't Gonna Take It", "The Winter of '79" (My favorite line: "Spurs beat Arsenal - What a game!") and single "Up Against the Wall" are just some of the highlights.
And odd as it may seem, Danny Kustow is for some reason not a household name today. THE lost guitar god of the '70s if you ask me.
Inevitably, for the follow-up album, the big, currently hip American producer (Todd Rundgren, in this space and time) was flown in and the record was hastily finished in, eh, record time.
"TRB 2" (1979) wasn't an entirely bad record, but it wasn't very good either. A Peter Gabriel co-write "Bully For You" (Later in the year nicked by Pink Floyd of all people for the depressing disco of "Another Brick in the Wall Pt.2") was a strong track and an obvious single, but which somehow - inexplicably - failed miserably chart-wise.
By then the writing was on the wall and by 1980 TRB had broken up.
Their fearless leader has never been completely out of the spotlight since, though in later years his profile has been somewhat lower.
But fear not. Recently EMI had the good sense to put out the excellent and exhaustive 3CD/1DVD "Tom Robinson Band Anthology 1977-1979", containing all the essentials, previously unissued demos, live recordings and the like. It should be available at a (net)store near you.
And, by the way, Tom Robinson Band recorded one of the finest Dylan covers the '70s served up. But, yet again, it wasn't included on the album. Which just goes to show how many good songs they had to begin with. I suppose.
In spite of the massive commercial success the Motown record label enjoyed during the '60s, there's an argument to be made for the early '70s as being its most creatively successful era ever. And I am not just talking about Marvin Gaye and Stevie Wonder here.
After gradually starting to move their main operation from Detroit to Los Angeles in 1969 (to be completed in 1972), there just was no way turning back.
Evidence A: The Four Tops.
Commercially on an undeserved downhill slide, the Four Tops issued their most artistically accomplished album to date in 1970. Peaking just outside the U.S. Top 10, its title track "Still Waters" was a 2 minute and 41 second triumph.
Even better still was the Tops' cover of Tommy Edwards' late '50s standard "It's All in the Game", which became their biggest '70s hits for Motown, excluding a collaboration with the Supremes, before they left the company for greener pastures at ABC-Dunhill a couple of years later.
But perhaps the strongest cut on the album was a love song (of sorts) to Motown's new hometown, the gorgeous "L.A. (My Town)".
Never a proper single in its own right though, it belatedly appeared as the B-side to "A Simple Game" (1972), one of the Tops' last Motown singles until their return to the label in the late '80s.
At ABC-Dunhill from 1972 to 1978, the Four Tops produced a fine body of work, especially during the first half of that period under the firm guidance of producers/songwriters Dennis Lambert & Brian Potter.
Arguably the greatest Motown vocal group of all time, The Four Tops' name will, as it should be, always be synonymous with Motown.
Evidence B: The Supremes.
After parting company with their charismatic leader - one Diana Ross - in early 1970, the Supremes' future prospects were somewhat in doubt. Especially after Motown boss Berry Gordy had vetoed Ross' successor Jean Terrell and "washed his hands" of the group altogether.
Nonetheless, the aptly named "Right On" L.P. appeared in the spring of 1970, its lead-off single "Up the Ladder to the Roof" having just previously hit the U.S. Top 10.
In hindsight at least the change was all good. Prior to Ms. Ross' departure the Supremes sound had become stale and, notwithstanding the fact that their records did not always feature all of the Supremes, somewhat soulless. Surely Las Vegas boomed, but at what cost?
Further Jean Terrell-led albums followed: "New Ways, But Love Stays" (1970), "Touch" (1971), "Floy Joy" (1972), as well as an Jimmy Webb (mostly)written & produced album (all of which were collected on the marvellous "This is the Story - The '70s Albums, Vol. 1, 1970-1973 - The Jean Terrell Years" Hip-O-Select CD set from a few years back), not to mention several albums' worth of collaborations with the almighty and previously praised Four Tops.
And although the hits became fewer and appeared further in between than in their '60s Ross-led heyday, the excellence of said material is indisputable. "Stoned Love", "Nathan Jones" and "Floy Joy", to name but few, all became size able hits in their own right.
To make a long story short, The Supremes continued to record for Motown well into the disco era, although with diminishing commercial returns. But one of their most rewarding recordings appeared on their self-titled 1975 album and, as far as I know, wasn't even issued as a single: Lambert & Potter's perhaps aptly named disco-lite opus "It's All Been Said Before"...
Evidence C: The Miracles.
Another Motown vocal group left in the lurch by its fearless leader at the turn of the '70s, although Smokey postponed his amicable departure from the group after the then three year old Stevie Wonder catchy co-write "Tears of a Clown" surprisingly hit #1 hit on both sides of the Atlantic in 1970.
Three years later though, the inevitable could no longer be postponed. A position as the vice-president of Motown awaited Smokey, as well as a looming lucrative solo career.
His replacement Billy Griffin made his recording debut as a Miracle on the "Renaissance" album in 1973.
A great yet unfairly overlooked album at the time, and so was its follow up "Do it Baby" (1974), although its funky title track became a Top 20 U.S. hit - the Miracles' first in three years.
But, as often is the case, the best was yet to come.
The Miracles' next album, 1975's "City of Angels" (Yet another Motown love letter to L.A.), is undoubtedly their strongest and also yielded their biggest post-Smokey hit in the disco stomper "Love Machine" - a U.S. #1.
Other highlights included the unintentionally hilarious early pro-gay paean "Ain't Nobody Straight in L.A.", which contains this unforgettable nugget: "Homosexuality is a part of society, I guess that we need some more variety..."
In spite of having a number 1 single and a Top 30 album on their hands their next album, "The Power of Music" (1976), failed to follow up its predecessor's success and became the Miracles' swansong for Motown. A move to Columbia proved to be a failure as well and by the late '70s this legendary act had pretty much fallen off the radar.
Nonetheless, their legacy remains undisputed and although their '73-'76 Motown tenure isn't as universally lauded as their late '50s - 'early '70s work with Smokey Robinson, it certainly deserves a reappraisal.
The Heartbreakers' "L.A.M.F." (The original and, arguably, charming title of "Like a Mother Fucker" was aborted for this, most likely, record company sanctioned abbreviation) never got its due praise until a couple of decades later.
Probably the second best punk album of all time. Or, at least, of 1977. No price for guessing the best one. And, no, it's not The Clash's self titled debut - although that is a mighty fine effort as well.
"Mudded" mix has been blamed for "L.A.M.F''s original vinyl issue's lack of proper awe and respect at the time. But it couldn't have been quite so simple. Personally, I believe the origin of the Heartbreakers was somewhat to blame as well. Although it may not have been a great sounding record, it was nonetheless a great record.
Formed from the ashes of the New York Dolls, by ex-Dolls Johnny Thunders and Jerry Nolan, to the coolest U.K. punks of '77 the Heartbreakers' was possibly not the most credible background around. Being American probably didn't help matters much either - even though they did take the trouble to relocate to the U.K.
The New York Dolls, although in the early '70s sounding like a fabulous and fresh cross between prime-era Stones and Mott the Hoople, by 1977 - and in spite of having an obvious influence on the likes of The Sex Pistols as well as Sham 69 (to name but two) - sounded a tad dated and worn.
Nonetheless, in the press and by the powers that were, the Dolls were touted as the predecessors of punk. Remember those odd and opportunistic "New Wave" comps from circa '77, which collected artists as diverse as Ramones, Runaways, Flamin' Groovies, and, err, Little Bop Story? Not to mention New York Dolls. Well, those were the daze...
Fronted by David Johansen and Johnny Thunders, as the Jagger & Richards of their time, New York Dolls, in the early '70s, paved the way for mid '70s NY punks like Ramones, Blondie, Talking Heads, Television, etc. But as The Clash declared "I'm so Bored With the U.S.A.", the U.K. punks were sceptical and eager to put as much distance between themselves and their U.S. counterparts. Let's not forget that Ramones weren't even considered to be cool at this point in time.
That said, The Sex Pistols sonically and verbally attacked the NY wave with "New York"; The Heartbreakers aptly and ably responded with "London Boys". Oh, well. And this was 20 years prior to the limp Oasis Vs. Blur feud...
Around which time U.K.'s Jungle Records first saw fit to unleash the "proper" mix of "L.A.M.F". Better late than never. And since then there have been at least a couple of reissues of said mixes + rarities, demos, etc. and so on. The last of which is a "Definitive" 4 CD box set, which, never mind the bollocks (in this case being pin badges), is as impressive and essential as they come....
A little over a year ago I witnessed Reg Presley's last live performance with The Troggs. I then promptly wrote about it HERE
It was both a sad and emotional event. And the reaction of some of the audience, who thought Reg was drunk, only made it more so.
Reg had recently recovered from his stroke when he was diagnosed with cancer and that December night in Essen it was all too obvious the end was, as the song says, near.
A charismatic frontman for one of the great '60s Rock bands, he shall be sorely missed.
