Nice Guys
The Everly Brothers
Magnum Force Records MFLP-1028
1984
Yet another obituary to acknowledge. There have been so many lately I can't keep up, but Phil Everly's passing was particularly painful for me. I've been a huge fan of the Everly Brothers since I was a teenager. They were the first artists from the classic rock and roll era that really engaged me and between vinyl and CDs I have just about all of their albums. Their music with its sublime vocal harmonies has given me countless hours of pleasure. I have been playing their albums this past week in memory of Phil. My favorite is "Roots" which I have already blogged about and which is one of my all time favorite albums. The one I listened to the most this week though was this one. It is a British compilation album of unreleased material from the Everlys' years at Warner Bros. Records which encompassed the entire decade of the 1960s. It was the second such album ("The New Album" preceded it in 1977) and it is full of fine music that deserves to be heard. The album was clearly a labor of love released on Everly fan Nigel Molden's rock and roll specialty label, Magnum Force. Unfortunately it contains no information about the songs, no dates or musicians, sometimes not even a songwriter. For that information I turned to Robin Dunn's excellent Everly discography. The album opens with "Trouble" from 1963. It is a rocking tune that bares some resemblance to "Wake Up Little Susie" except that this time the trouble is deserved. It is one of my favorite songs on the record, I especially dig the wailing harmonica running through the song. "What About Me" is a Gerry Goffin/Carole King composition from 1962 that Bobby Vee recorded the following year. It is a propulsive little song which, like so many of their songs, is about heartbreak. The album jumps forward to 1969 for "From Eden to Canaan" (listed as "From Eden to Cainin" on the record.) It is a slow country rocker with a fabulous harmony vocal from Phil on the chorus. It is such a beautiful song, I can't understand why it was never released. The song was written by Robert J. Kessler and Robert William Scott. Another Goffin/King song is next. "Chains" was recorded in 1962 prior to the hit version by the Cookies that was released later that year. It is perfect for the Everlys' sound and it has hit single written all over it (although I could do without the chain sound effects) so I'm baffled as to why they let the Cookies have the hit instead. "Meet Me In The Bottom" is a rare foray into the blues by the Everlys. Its songwriting credit is listed as Everly on the record but it is actually the Willie Dixon song that Howlin' Wolf recorded as "Down In the Bottom" in 1961. The Everlys recorded it late in 1968. It has some fine guitar picking in the breaks and the Brothers are backed up by a gospel style chorus that adds a lot of oomph to the recording. "In The Good Old Days" is a Dolly Parton song that she released as a single in 1968 (I wrote about her version in my post for "The Best of Dolly Parton.") The Everlys' version dates from late 1968. I prefer the Parton recording but the Everlys' country roots serve them well in making the song convincing. This song also features support from a gospel style chorus, but this time I find it obtrusive. Side two opens with "Nice Guy" (listed as "Nice Guys" on the record) which is yet another Goffin/King song that the Everlys recorded in 1962. In the liner notes for the box set "Heartaches & Harmonies" Don Everly dismissed the song as "formula" but I think that is a bit harsh. I consider it a terrific song, another one of my favorites on the record. It is a return to the sound of their classic recordings for Cadence Records, it even has the acoustic guitar riff from "Bye Bye Love." Perhaps this return to the past is what Don found objectionable but it works for me. It has fun lyrics about nice guys finishing last in love. "Stained Glass Morning" is a Scott McKenzie song that the Everlys recorded late in 1969. The song is a maudlin tale of a dead soldier's funeral that is over-produced but it has a very strong vocal that redeems it somewhat. It is by far the worst song on the record. "Dancing On My Feet" is a different take of the 1962 Phil Everly composition that first appeared on "The New Album." It is an amusing song about how his dance partner keeps stepping on his feet. It would have fit in great on "Instant Party" where it would have been one of the best songs on the album. It is followed by a fantastic version of the Buffalo Springfield classic "Mr Soul" by Neil Young that dates from late 1968. The song is taken at a much slower pace than the supercharged version by the Springfield. It has a mix of country and soul elements and a low key vocal that makes the lyrics really stand out in all their surreal brilliance. It is an inspired reworking of the song that makes it sound moody and menacing. "Don't Ya Even Try" (listed as "Don't You Even Try" on the record) is by Phil and Don and was recorded in late 1964 during the sessions for their "Rock 'N' Soul" album. Its Bo Diddley style beat and guitar riff would have made it perfect for the rock and roll covers laden "Rock 'N' Soul" and it is such a good song that I'm guessing the main reason it was left off the album was because of the Everlys' bitter songwriting royalty dispute with Acuff-Rose. Too bad, it would have made that album better. I think the same could be said for the final song on the album, the joint Everly composition "Kiss Your Man Goodbye" which was first attempted during the "Rock 'N' Soul" sessions. The version on this album is the second attempt recorded in England in mid-1965. It is a rocking song that seems influenced by the British Invasion sound which is ironic considering how much the Everlys influenced English groups like the Beatles, Hollies and Searchers. It is driven by lots of noisy guitar and features a fine joint vocal from Phil and Don. It deserved a better fate than being shelved. I guess it is a testament to the Everlys' greatness (and perhaps Warner Bros. Records' incompetence as well) that this outtakes album is so good, easily as good or better than many of their official Warner Bros. albums. If you have deep pockets you can find all of this music on the massive CD box sets that Bear Family issued of the complete Everly Brothers recordings on Warner Bros. Records. Personally I think the Everlys sound best on vinyl so I'm really happy I was able to find a copy of this wonderful album. It reminds me of Phil Everly's great legacy to his fans and his monumental place in the history of American music. Recommended to fans of vocal harmonies in pop music. There will never be anyone better than these guys.
Talk Show
The Go-Go's
IRS SP70041
1984
I saw the Go-Go's play at the Hollywood Bowl last summer. It was the classic line-up minus Kathy Valentine who had injured her wrist and could not perform. Alas since then she has been kicked out of the band. It was a terrific show, I had a great time but I was disappointed that they only did one song from this album, "Head Over Heels." I can't blame them for concentrating on their first two albums for their set list, they were the two that were big hits. I think this album, their third, is their best one though. I was not initially a fan of the band. When "Beauty and the Beat" was released and "We Got The Beat" was all over the radio, I dismissed them as bubblegum. My sister loved them though and bought the album. I heard her playing it and I started to like it. Soon I was a fan too. What was there not to like? Five attractive women playing uptempo New Wave flavored power pop with clever lyrics, that was right in my wheelhouse. I bought and enjoyed their first two albums, but this was the album that really made me fall for them, just in time for them to break up unfortunately. "Talk Show" impressed me immediately with its rocked up sound while still retaining the band's pop sensibility. It is loaded with hooks and musical appeal. It always makes me happy when I listen to it even though it is easily the most unhappy album they ever made. It kicks off with Charlotte Caffey and Kathy Valentine's "Head Over Heels" which was the big hit single off the record. It is a sparkling tune driven by an insistent keyboard riff and a hard driving bass line with noisy guitars on top. It is loaded with pop appeal but the lyrics are dark and express confusion and desperation which seems an accurate reflection of the group's state of mind at the time with the band heading for a break up and drug problems taking their toll as well. It is my favorite Go-Go's song, I played it over and over when I bought this record. Caffey and Jane Wiedlin wrote "Turn To You" which was the other top 40 single on the record. It is another riff-driven rocker with an urgent, rough vocal from Belinda Carlisle with catchy back-up vocals from the group. It has a relentless beat that gets me bopping and features one of the best guitar solos in the band's catalog. It is another big favorite of mine. Despite its hard rocking sound, the song is a poignant plea to a lover to let her into his heart. The big beat continues with Gina Schock and Valentine's "You Thought" which has that synth with big drums sound so popular in the 1980s (much to my chagrin) but fortunately it also has loud guitars too. The song is about communication problems in a deteriorating relationship and it demonstrates the group's growth as lyricists with a lot of evocative imagery. The communication breakdown persists with Valentine and Wiedlin's "Beneath the Blue Sky" which features the great line "I think we're sharing the same lies." This song features another terrific guitar solo on top of a soaring melody that makes this song a real winner for me. Side one concludes with Wiedlin's moody "Forget That Day" which is about being deceived by a lover who loves someone else. Carlisle's plaintive, heartfelt vocal is very expressive. Side two opens with the powerful guitar riff and crisp drumming that drives "I'm the Only One" which Valentine wrote with Carlene Carter and Danny Harvey of the Rockats. This high energy song features more delightful vocal harmonizing from the band in support of Carlisle. It is another song about misunderstandings in a love affair. "Yes or No" is a collaboration between Wiedlin and Ron and Russell Mael of Sparks. The song was released as the third single off the album but it flopped, although not for lack of musical quality. It has a hooky bass line and a catchy chorus that has hit single written all over it. Lyrically it recalls the earlier Go-Go's records with its love 'em and leave 'em ethos as the narrator tries to get a guy to dance with her no strings attached. Wiedlin's optimistic "Capture the Light" is about trying to stay positive and avoiding dark thoughts. Once again jangly guitars and tight drumming result in a very appealing musical concoction. Schock and Wiedlin's "I'm With You" is about the unhappiness of being away from the one she loves presumably because of a tour. Carlisle sings the words with a lot of feeling and the group substitutes a steady groove in place of the rocked up sound on most of the record to reinforce the desperate sadness that permeates the song. The album concludes with Wiedlin, Valentine and Caffey's remarkable ballad "Mercenary." It opens with martial drumming and delicate guitar strumming gradually picking up steam as it builds to the emotional chorus. It is a heart-breaking song about a girl who uses a guy and his unhappiness as a result delivered by Carlisle in one of her best ever vocals. It gives the album a moving finish full of depth and tenderness. Scoff if you will, but I say this is one of the best albums of the 1980s. It obliterates the persona of the Go-Go's as cartoonish party girls with its sensitivity and heartfelt honesty. Its powerful rock sound displays the group's punky roots and musical chops. This album sounds great and it has hardly aged a bit. I find it endlessly appealing and stimulating. Recommended to Bangles fans who wish they weren't so hung up on the 1960s.
All Over The Place
The Bangles
Columbia BFC 39220
1984
It has been a while since my last post. I was on vacation up in Alaska. Alaska is awesome but I never found a record store there so I doubt that I'll ever be moving there. Despite its many faults, Southern California is a record lover's dream. There are lots of record stores and the live music scene is tremendous. If I had the time, money and stamina, I could see a good show just about every night. The area has also produced a lot of terrific bands, including the Bangles who started just a couple of miles from my home. I recently saw the Bangles in concert. Michael Steele was not there and she was replaced by a male bassist and with a guy on keyboards as well, so I guess they aren't really a girl group anymore. The concert was a pleasant surprise. The old songs sounded great and the new songs didn't suck. The ladies may be getting older but they can still bring it, if you don't believe me you should check out their electrifying cover of the Nazz's "Open My Eyes." I enjoyed the show so much, it got me to dig out this album and give it a spin. It is my favorite of their original albums even though it was the least successful commercially. It may not have produced any hits, but it should have, "Hero Takes A Fall" is one of their best songs, it is so catchy and compelling, it has classic single written all over it. The album is not marred by any sappy Susanna Hoffs ballads and it has a cleaner, less fussy sound than their later albums. Most of the record was written by Vicki Peterson who has clearly listened to lots of 1960s records. "James" sounds like Petula Clark crossed with the Monkees. "All About You" sounds like the Jan Errico era Mojo Men crossed with the Byrds. The Hoffs-Peterson song, "Dover Beach" is an enchanting mixture of folk-rock and power pop with an alluring Hoffs vocal and some stinging guitar from Peterson. It concludes an absolutely flawless side of music. Side two kicks off with the chiming opening guitar line of "Tell Me" before letting loose with some of the hardest rocking music on the record. It sounds like Paul Revere and the Raiders crossed with the Leaves. "Restless" is another driving rocker that sounds like the Mamas and the Papas crossed with the early Jefferson Airplane. "He's Got a Secret" is less rooted in the 60s aside from the vocal harmonies. It has a nice guitar solo but is otherwise undistinguished. "Silent Treatment" is another rocker with a New Wave flavor. It reminds me of the Go-Go's. It is a slight song, but the powerful guitar riffs make it engaging. "More Than Meets the Eye" is the quietest song on the record, the guitars and drums are replaced by violins, rarely a good idea. I find it boring and it ends an otherwise fun record with a bit of a downer. The Bangles have always had excellent taste in covers and this record is no exception. Side one offers a faithful version of the Merry-Go-Round's classic "Live" and side two has Kimberley Rew's immortal "Going Down To Liverpool." It is not quite up to the Katrina and the Waves version but only because Debbi Peterson can't compete with Katrina Leskanich as a vocalist. You could make a case that this record is too derivative to be considered great, but I don't care. I love the music of the 1960s and if the Bangles love that music too, I'm on their side. I do think it is a delightful record and it makes me happy whenever I give it a spin which is more than I can say for most records from the mid-1980s. Recommended for people who think the Three O'Clock were a better band than the Police.
