Tuesday, July 30, 2019

Horse Head Has An Idea:.."Steely Dan: More Than Just a Band"


"Steely Dan: More Than Just a Band"
There are a few Steely Dan documentaries out there.  But this one is especially entertaining without being a time-suck.  At 17 minutes, this doc does a nice job of taking us from the band's early “Do It Again” debut period and quickly touching on each album.  The gentleman doing the voiceover is pleasant with interesting observations and sincere enthusiasm.

The Walter Becker/Donald Fagen duo was always like cosmic magnets...drawn together by unseen musical forces.  A pairing of minds searching for the lost chord.  Or some other type of perfection.  And their music made us feel smarter.  A touch more grown-up.  The music makes us want to tidy up the house for company.  And Steely Dan albums always make me want to drink some scotch whiskey.  All night long.  I never do, of course.  I'm just not that cool.  But I truly do have an unopened bottle of Glenfiddich 12-Year-Old collecting dust should the off-chance opportunity to speak with The Fagen presents itself.  (Or something equally worthy of throwing some scotch back.)  Again, this short documentary is nicely done.  Grab a beverage and enjoy.

"Steely Dan: More Than Just a Band" / Documentary

Good stuff.

Casey Chambers
Follow Me On FACEBOOK 

Sunday, July 28, 2019

TCCDM Pulls One Out..."The Inner Sounds Of The Id" (1967)

"The Inner Sounds Of The Id" - The Id (1967)

“The Inner Sounds Of The Id” is a fantastic psych record that was, in many ways, ahead of its time. All the music was recorded before 1967, making for some really early trippage.  A stamped postcard for the psych music later to come.  Remember, this was months before “Sgt. Pepper”...when every band wanted studio time to try and join the psychedelic parade.  The opening track “The Rake” brings a wonderful off-beat weirdness to the cerebellum.  And the album closes with the darker 10 1/2 minute title track.   Along with the psych, "Inner Sounds..." offers up some tasty and a bit strange garage rock.  Interesting, for sure.  From needle drop to run-out, this is some pretty groovy stuff.

The Id was never a “real” band, however.  They were just session musicians.  Wrecking Crew guys with guitarist Jerry Cole being the better-known of the bunch.  Cole was responsible for “The Animated Egg” psych album (I've never seen in the wild...evah!)  And he played on many of the cash-in “101 Strings” LPs, which I have come across, but was never aware Jerry Cole had a hand.    This was a bit of a pony-up. (For me anyway, I'm cheap).   I had been trying to snag a good copy at a price that fell in my sweet spot for a long time.  I bought this one online from a new seller with very little feedback history and took a chance.  I made an offer and it was accepted for $20 shipped.  A price I was comfortable paying.  This was the only album The Id ever recorded and it's a good one to grab.

"The Inner Sounds Of The Id" (back)

RCA Victor label

RCA Victor company sleeve

"The Rake" - The Id / "The Inner Sounds Of The Id" (1967)

A1  "The Rake" 2:03
A2  "Wild Times" 3:02
A3  "Don't Think Twice" 2:41
A4  "Stone and Steel" 3:30
A5  "Baby Eyes" 2:47
A6  "Boil the Kettle, Mother" 2:55
B1  "Butterfly Kiss" 2:29
B2  "Short Circuit" 2:56
B3  "Just Who" 2:36
B4  "The Inner Sound of the Id" 10:29

Jerry Cole - guitar, vocals, sitar
Rich Cliburn - guitar, b-vocals
Glenn Cass - bass, b-vocals
Don Dexter - drums, b-vocals

Good stuff.

Casey Chambers

Monday, July 22, 2019

Interview -- Alvin Taylor (Drummer w/ Eric Burdon, George Harrison, and many others...)

"It's like being
in the right place
at the right time." 
~ Alvin Taylor ~

As a very young teenager,  Alvin Taylor was already the drummer for the iconic Little Richard band that included Billy Preston and Jimi Hendrix.  (Let that sink in a minute.)  And if he had decided to put his sticks away forever after that stint, Alvin Taylor would still be way cooler than the rest of us.  Oh, but wait.  Taylor also provided some funky bottom for Billy Preston and Sly Stone.  Rolled thunder for The Eric Burdon Band.  And provided a different kind of bonza for Elton John and George Harrison.  But really, I'm cherry-picking here, because Alvin Taylor has left behind enough chilly-cool drumming to crack even the longest of heat indexes.  Alvin Taylor.  Go get you some.

Alvin Taylor Interview -- July 2019
Alvin Taylor

Casey Chambers:  Let's jump right into it.  Before getting hip to all the many artists you've been associated with, I first became a fan of your craft from your work with Bob Welch.  How did you and Bob hook up?

Alvin Taylor:  Well, that's interesting.  I'll try to make it short. (laughs)  Through working with Capitol Records, I was with Eric Burdon.  I was one of the founding members of The Eric Burdon Band.  And John Carter, we all called him Carter...may he rest in peace...was an A&R man for us.  He'd travel around the world with us and meet us at various locations.  And every night he'd come sit behind the drums while I was playing.  And he'd say, 'Man, you are the most amazing drummer I've ever seen.  I'd like to do some work with you someday.'

(Check out this firestick!)
"River Of Blood" - The Eric Burdon Band / "D K Rock Concert" (1974)

And after The Eric Burdon Band broke up, Carter called me and said he was going to be producing a new artist that Capitol Records had signed by the name of Bob Welch.  I didn't know who Bob was at the time.  Of course, I knew Fleetwood Mac...the band.  But I wasn't familiar with any of the members except for Fleetwood.  Mick Fleetwood.  Bob had left and was pursuing a new career as a solo artist.  So Carter asked me to take responsibility for being his band leader and finding band members for him to record with.  I asked him to give me a tape so I could hear what these members should sound like.  And lo and behold, I got the tape and probably about three minutes into it, I was convinced the musicians on the tape were the guys that needed to be on the album.

So I called Carter back and asked, 'Who's the guitar player?'  He says, 'Oh, that's Bob Welch.'  I said, 'Well, what about the bass player?'  "No, that's Bob Welch.'  I said, 'How about the keyboard player?' 'Well, that's Bob Welch, too.'  I said, 'You gotta be kidding me! Well, who's doing the singing in the background?'  Carter said, 'That's all Bob Welch.'  I thought, my goodness!  Why should I be looking for a band?  We have the band, ya know?  So for the recording of the "French Kiss" album  (1977), with the exception of the one song Bob had done before with Fleetwood Mac ...called "Sentimental Lady"...all the other tracks were done by Bob Welch and myself.

"French Kiss" - Bob Welch (1977)

I had worked with Barry White, so I knew a very amazing string arranger by the name of Gene Page, who's also passed away.  He had done hundreds of records with Motown and various other famous artists.  I asked him if he would come in and do some string arrangements for us on "French Kiss."  Especially on "Ebony Eyes" and then later on the song "Precious Love."   The next thing I know, the record went Gold and then went Platinum.  And Bob and I secured a very meaningful relationship as friends and I was friends with him right up until his tragic death.   And that's how we got together.

"Ebony Eyes" - Bob Welch / "Live At The Roxy" (1981)

Casey Chambers:  It was a great album.  Did you guys do a lot of road promotion after the album's release?  I watched an awesome show with you guys performing at the Roxy and it was sick.

Alvin Taylor:  That was "Bob Welch and Friends Live At the Roxy" (1981) and that was just a fun, fun night!   I never toured with Bob, unfortunately.  The financial end of things at that time didn't work out from my management's point of view.  I would have done it for whatever...'cause I loved working with Bob.  The money wasn't important to me.  But we did do The Roxy together and yeah, we had a lot of fun.  And it was a good chance to mix it with a lot of our friends.  Stevie Nicks and Mick Fleetwood.  Christine McVie.  And some of the really great players.  Joey Brasler playing bass.  And Robbie Patton, who is an amazing singer from England with his own career, on percussion.  Congas and tambourines and cowbells.  And of course, Stevie was playing a tambourine and singing background with us.  And a lot of friends just showed up.  Carmine Appice came and did one song and that was really nice.  He was like...' No, you're not doing this show without me.' (laughs)  The Roxy was just a fun, fun night.  I was using a custom-built set of Rogers that was made for me through a company called Far Out Productions who created the band...WarJerry Goldstein, a producer, and songwriter with the band wanted me to have whatever it was that I thought I needed to play with Eric Burdon.  I told him my favorite drums was Rogers, so he arranged for them to make a special custom made drum set for me.  And that's the drum set I used with Bob live as well as during the recording sessions.  And I used Zildjian Cymbals.  Basically, customized hardware.  That's why the live stuff pretty much sounds like the record.

"Precious Love" & "Hot Love, Cold World" - Bob Welch / "Live At The Roxy" (1981)

Casey Chambers:  It's always kinda cool learning about what was the first...something.  Trivial or not.  And I think this is a pretty neat deal.  You get to share the banner for being...The First Musical Act To Perform On "Saturday Night Live."  What a cool bag to carry.  How did that happen?

Alvin Taylor:  I was with Billy Preston at the time.  He was the musical guest and I was working with him.  Janis Ian was also on that show.  And George Carlin was the host.  It was 1974 or '75, I believe.  So yeah, it was the very first show that ever appeared on television for "Saturday Night Live."  We did "Nothing From Nothing" and a song called, "Fancy Lady."  He had a ranch up in Topanga Canyon and that was a horse that Billy was in love with.  Billy Preston was a very intricate part of my career way back in the day.  When I was first discovered, Frank Sinatra, Sammy Davis Jr., Little Richard, and Billy Preston were all together at a show that I was playing.  And Little Richard loved my playing and came back to the kitchen where I happened to be the busboy at this place.  I doubled as a drummer every now and then when the other drummer got drunk. (laughs)  Little Richard asked me to be his drummer and I ended up on the road with Little Richard opening up a show for Elvis Presley.

Jimi Hendrix was playing guitar in the band and Billy Preston was the organist.  And Little Richard made me...at the age of 13...not only his drummer, but his bandleader.  I conducted an 18 piece orchestra at the same time.  And like I said, Jimi Hendrix was playing guitar in our band. (laughs)  When Richard wasn't working though, he was doing promotional tours to promote his artistry and, you know, he kinda left us waiting for him to be ready to go on tour again.  Billy Preston and I became really good friends.  And we thought...well, we need to make a living.  And Billy had connections over at Motown Records and we'd go and do sessions for Motown artists.  People like...Smokey Robinson.  Marvin Gaye.  Diana Ross and the Supremes.  The Temptations.  I even had the privilege and the pleasure of working with Teena Marie and Rick James on a song called, "I'm A Sucker For Your Love."  Anyway, later Billy needed a drummer after the great Manuel Kellough left, so I ended up playing drums for him.

"Nothing From Nothing" - Billy Preston / 1st episode of SNL (1975)

Billy's manager was Robert Ellis, who was Diana Ross' husband and managing Rufus with Chaka Kahn at the time.  He ended up sending us to New York to do the show.  We didn't really mind that the show had no name yet or wasn't famous because they were paying us really well.  They were taking care of our hotel and flying us out to New York and back.  So we went and did it and had a chance to meet some amazing people.  We used Tower Of Power's horn section and Bobby Watson, the bass player from Rufus and Tony Maiden, the guitar player from Rufus.  Along with a friend of ours by the name of Steve Beckmeier, an amazing guitarist who's worked with a lot of famous people.  So that's how I ended up working with Billy and having the privilege and the pleasure of having that opportunity to do the very first "Saturday Night Live" show.  It's like being in the right place at the right time. (laughs)

Casey Chambers:  "Live...from New York!"  (laughs)  Exciting times.  I know Billy Preston had a close relationship with The Beatles.  Is that how you found yourself working with George Harrison?

Alvin Taylor:  Well, absolutely.  Just like I said...having the 'face in the place.' (laughs)  Being in the right place at the right time.  What happened was...George Harrison came out to Billy's ranch to visit and say hello to him.  I guess he was in town while we were doing pre-production for The Stairsteps...known as The Five Stairsteps.  They had the song..."O-o-h Child, things are gonna get easier.'   We were rehearsing an album called "2nd Resurrection." (1976)  They were getting ready to resurrect and make a comeback in the business.  Which they did.  And Billy was producing that band along with the famed producer Robert Margouleffwho had produced some of Stevie Wonder's biggest albums.

So at that time, I'd been spending a lot of time rehearsing out at Billy's ranch.  And I just happened to be there when George Harrison showed up and he was like, 'Oh my God, who's that drummer? I got to have that drummer on my album.'  And Billy came out and said, 'Hey, George really likes your playing.'   I'm like...' Yeah, sure.  Right.'  (laughs)  But then the next thing I know, I actually get a call from George Harrison!  I thought it was someone faking an English accent and I was like, 'Yeah, right. Sure, George.'  He just ignored me.  He...he just kept on talking. (laughs)

George Harrison's Friar Park Castle 

He said, 'Oh yeah, I 'd like to have you on an album I'm doing a year from now.'  I'm thinking to myself...'A year from now?  Who knows what I'll be doing a year from now?  But, I made the agreement.  I consented to be available. To go to London.  He said we'd probably do it in London at a place called Friar Park in Henley-on-Thames...which is where his castle was at.  He had a studio in his castle.  And then a year later, sure enough, I got a call asking if I would still be available on a certain date to come and live in George Harrison's castle.  And at the same time, participate in the recording by playing drums on his album..."Thirty-Three & 1/3" (1976) along with some other really great players.  Tom Scott was producing the album.  David Foster was one of the keyboard players.  Gary Wright.  Richard Tee.  Billy Preston.  We had four keyboard players and they all played a major part on that album.  Along with the most amazing bass player in the world...a guy by the name of Willie Weeks. And there were some other great players.  The percussionist...Emil Richards.  And I got the chance to meet Kumar Shankar, who's a nephew of Ravi Shankar who was one of our engineers.  So yeah, that's how I met George and that's how I got involved with him.

Casey Chambers:  That's a great story.  I gotta get myself a castle. (laughs)  And this was a really good album for George.

"Crackerbox Palace" - George Harrison / "Thirty-Three & 1/3" (1976)

Alvin Taylor:  Oh, yeah.  "Crackerbox Palace" and "This Song."  There was also "Beautiful Girl."  That one is definitely one of the great songs.  But my favorite happens to be "Crackerbox Palace" because of the unique drumming that I was able to do on it.  Not the usual norm, but something really different.  And then I also really liked "This Song."  It was actually a song that was kind of making fun of the "George getting sued" situation.  "This song has nothing tricky about it / This song ain't black or white / and as far as I know don't infringe on anyone's copyright."  George had gotten sued for "My Sweet Lord" because of the similarity to The Chiffons song..."He's So Fine."

Casey Chambers:  "This Song" was about as close to an "FU" song as George Harrison ever got.  Another writer might've gone for the angry retort.  George politely flips the bird with some eye-rolling sarcasm instead.

Alvin Taylor:   He was just telling it how it was.  George was such a gentleman and a person that lived a life of mutuality.  He would just go with the flow in the spirit of grace and mercy.  Had a God he relied on and chose to honor and worship and you could see it in his lifestyle.

Casey Chambers: It definitely wasn't done for fashion.  And you were part of a really important album in his discog.  Does Alvin Taylor have any new projects in the works?

Alvin Taylor:  I do.  I have a book being written as we talk.  We were thinking of calling the book, "From Drum Major To Major Drummer."  I was a Palm Springs High School drum major growing up.  I started all the high kicking stuff that you see back in the day.  But we're not tripping on the title, we're just getting the content involved right now.

Casey Chambers:  Good title for a book.  Let us know when it drops.  Well,  I know we've barely scratched the surface, but I wanna thank you for taking the time to share a few stories with us.  And for the great music.

Alvin Taylor:  Well, it's a privilege. It's a pleasure. And it's an honor.  And I would not want to close without giving thanks to Big Papa.  The people who discovered me.  Frank Sinatra, may he rest in peace.  Billy Preston. Sammy Davis Jr.  May they rest in peace.  Little Richard.  And my friend Candy Hunter.  I thank them all for giving me my big break in the business.  And once again, thank you for allowing me to share.

"This Song" - George Harrison / "Thirty-Three & 1/3" (1976)

Alvin Taylor Facebook

Good stuff.

Casey Chambers
Follow Me On FACEBOOK 

Wednesday, July 17, 2019

I Went...SI--SI--SIRIUS...All The Way Home (again)

(a 20-minute jaunt)

"We Will Shine" - Alvin Lee · Mylon LeFevre / "On the Road to Freedom" (1973)

What a surprise to hear a song culled from this lesser-known album.  It was at Moose Antiques where I found this one.  I'd been walking around for an hour and didn't want to leave without buying something and saw this album propped by one of those black-iron kitty-cat doorstops on the floor.  It was a blind purchase apart from recognizing the name, Alvin Lee.  Nothing speed here, though.  Turned out to be a fine country-rock chill album.  A lot of familiar names hang out here.  George Harrison, Ron Wood. A few members of Traffic and other names I can't remember right now.  Go check it out.  Aged very well.

"(I Know) I'm Losing You" - Rare Earth / “In Concert” (1971)

Yep. Sirius played the entire 14-minute unedited live version.  Driving hard on the highway is a great way to experience this song.  I first heard this while listening to “JT” play it on his “Saturday Night All-Request” show on what was once called...107.3 The Road in Wichita.  I do have this album.  Part of it, anyway.  I pulled a rookie and didn't check the vinyl until I got home.  The jacket was missing the second record.  (Bin-diggin' and what with the gimmix buckles and all, ya know?)   I don't play it often, but I like knowing I have it.  Anyway, highway driving was made for Rare Earth.

"Blue Light" - David Gilmour / "About Face" (1984)

New to me, although the song did chart out at #62.  The horns caught me by surprise.  The song is very, very...high energy.  Nothing like “There's No Way Out Of Here”...which I adore.  It almost makes me think Townshend or Gabriel passed by David's studio and shouted, "Ya gotta get some horns, mate!”   "Blue Light" is just okay, but not what I'm really looking for.  How 'bout the album?


Good stuff.

Casey Chambers

Sunday, July 14, 2019

TCCDM Pulls One Out..."Stardancer" (1972)

"Stardancer" - Tom Rapp (1972)

This was Tom Rapp's second solo album, but his Pearls Before Swine bandmates are in the studio on at least three of the songs.  The music is mostly atmospheric folk-psych bends with unique Tom Rapp flavor that Pearls Before Swine fans will recognize.  It's not all gold.  There are a couple of songs that really feel out of place and break the spell.  But overall,  this is an album that will get played.  Side one is definitely the stronger spin, but the opening title track on side two offers a very nice mind-haunting experience, too.  If you like Pearls Before Swine, you'll probably enjoy this. 

"Stardancer" (back)

Blue Thumb label

Original record sleeve.

"For The Dead In Space" - Tom Rapp / "Stardancer" (1972)

A1  "Fourth Day of July" 4:55
A2  "For the Dead in Space" 4:05
A3  "Baptist" 5:00
A4  "Summer of '55" 2:13
A5  "Tiny Song" 2:33
B1  "Stardancer" 5:42
B2  "Marshall" 2:15
B3  "Touch Tripping" 2:58
B4  "Why Should I Care" 3:07
B5  "Les Ans" 1:50

Tom Rapp - Vocals, Guitar
Charlie McCoy - Guitar, Dobro, Organ, Banjo, Harmonica, Toy Piano, Session Leader
Mike Leech - Bass Guitar, String Arrangements
Reggie Young - Electric Guitar
Jim Colvard - Electric Guitar
Steve McCord - Guitar, Musical Advisor
David Briggs - Piano
Bobby Wood - Piano
Jim Isbell - Drums, Percussion
Buddy Spicher - Fiddle, Electric Viola, Electric Violin
Weldon Myrick - Steel Guitar
Florence Warner - Vocals
Pearls Before Swine (on tracks 3, 6, 7):
Art Ellis - Flute, Wind Chimes, Congas, Vocals
Harry Orlove - Guitar, Mandolin, Vocals
Bill Rollins - Cello, Vocals

Good stuff.

Casey Chambers

Wednesday, July 10, 2019

TCCDM Pulls One Out..."Keep The Faith" (1972)

"Keep The Faith" - Black Oak Arkansas (1972)

If I had to confess a rock-n-roll album guilty pleasure.."Keep The Faith” by the Black Oak Arkansas gang would be one of the first on my list.  I get it.  Jim 'Dandy' Mangrum and that “back-of-the-throat snarl” is a real tangled octopus.  But somehow, I've gotten over it and now welcome that voice as just being part of the whole batshit BOA experience.  It's crazy, but dang if they're not sincere about it.   And it's sometimes easy to forget, the bandmates backing frontman Jim Dandy can seriously fire up the grill.  Those guys handling the heavy hardware are probably one of the more under-appreciated musicians in rock.  I kind of dig early southern rock anyway.  And the fact that BOA throws in a little dab of southern psych dust into the mix makes “Keep The Faith” all the crazy better.

I like using Black Oak Arkansas when I have outside work to get done.  I can seriously get some outside shit accomplished with BOA crankin'!  Try it sometime.  There are no real surprises here.  You know what you're gonna get before you even pick up the album.  Look, Black Oak Arkansas ain't never gonna be confused with Lynyrd Skynyrd or the Allman Brothers Band.   And their lyrics will never be confused for Dylan.  But that‘s all right.   Black Oak Arkansas, and this album, in particular, might be a guilty pleasure...but every now and then...a little 'batshit-crazy' is just what the doctor ordered.  Now, what album is your guilty pleasure?

"Keep The Faith" (back)

"Keep The Faith" (inside)

ATCO label

"Fever In My Mind" - Black Oak Arkansas / "Keep The Faith" (1972)

A1  "Keep the Faith" 3:10
A2  "Revolutionary All American Boys" 3:34
A3  "Feet on Earth, Head in Sky" 4:14
A4  "Fever in My Mind" 2:49
A5  "The Big One's Coming" 4:00
B1  "White-Headed Woman" 4:57
B2  "We Live on Day to Day" 5:16
B3  "Short Life Line" 4:51
B4  "Don't Confuse What You Don't Know" 4:45

Jim "Dandy" Mangrum - vocals, washboard
Harvey "Burley" Jett - guitar, banjo, piano, vocals
Stanley "Goober" Knight - lead & steel guitar, organ, vocals
Rickie "Ricochet" Reynolds - 12 string rhythm guitar, vocals
Pat "Dirty" Daugherty - bass guitar, vocals
Wayne "Squeezebox" Evans - drums

Good stuff.

Casey Chambers

Sunday, July 7, 2019

TCCDM Dig and Flip: "My Friend Dahmer" (2012)

"My Friend Dahmer"

(I stumbled upon a good-sized box filled with a variety of graphic novels at an estate sale. No official count as I've just been pulling from the box when I find time to read one.  Afterward, I post the book and go from there.)

"My Friend Dahmer"
by Derf Backderf
2012 by Abrams Books
224 pages

Dahmer, of course, is Jeffrey Dahmer...the serial killer responsible for 17 murders and having them for snacks.  But this isn't about that ugly period of his life. This is about the ugly school years prior to his mic drop.  This graphic novel is a fascinating story about Jeffrey Dahmer's school years as observed by one of his actual school mates, Derf Backderf.  It's a collection of memory snippets as remembered by the author.  Nothing really gory, but the creepy is very near the surface.  Backderf and a few of his “real” friends...would include Dahmer in their circle as almost comedy relief for their own enjoyment.  Dahmer was mostly a loner.  Lonely and socially awkward.  And from what I gathered from this highly recommended story...he welcomed the small group's attention and willingly played the goose.  Look...Backderf doesn’t exactly come off smelling like a bouquet, but he does offer Dahmer something he didn't find anywhere else.  Time and attention.  Other than that, Jeffrey Dahmer was a poster boy for isolation.

"My Friend Dahmer" (inside)

The black and white artwork is distinctive and very cool.  Even in high school, Backderf was drawing pictures of Dahmer and adding them to school posters and papers...even back then!  I found this nugget especially fascinating.  This graphic novel also includes an actual photograph from the school yearbook, but I'll say no more about that.  "My Friend Dahmer" offers us a truly unique perspective of an individual already cut from the herd before his formidable school years even got started.  Like everyone else, I have no sympathy for Dahmer, the serial killer.  But it's not too terribly difficult to feel something for the guy during those ‘early' years.  Extremely unsettling.

"We're Going To Be Friends" - White Stripes / "White Blood Cells" (2001)

Good stuff.

Casey Chambers

Friday, July 5, 2019

TCCDM Pulls One Out..."Easy Rider Stk" (1969)

"Easy Rider" (1969)

I'm really glad I own this album, although I probably display it more than actually spin it.  As soundtracks go, the music is a perfect fit for the nomad counter-culture film.  Classic rockers like Steppenwolf and The Byrds and Jimi Hendrix Experience are on here.  I actually picked up this album for the Electric Prunes contribution..."Kyrie Eleison” ...which first appeared on their "Mass in F Minor" album. (My Electric Prunes Interview)  I love the biker/drug soundtracks that seemed to sprout wings during the late 60s.  And this is a fun one to own.

The “Easy Rider” movie, by the way, was recently shown at the Wichita Orpheum which is always a cool place to hang.  For the small few who aren't hip, the film included...Peter “I know what it's like to be dead” Fonda.  Jack “Here's Johnny” Nicholson.  And Dennis "Don't get caught watchin' the paint dry" Hopper...who also directed this film.  They play biker nomads who are searching for the meaning of freedom...smoking dope and stealing daughters.  The film has become a cult classic and is fun to revisit from time to time.
FWIW...The Band's song...“The Weight“ (which was in the film) could not be licensed for the soundtrack, so the song was included, but performed by the group, Smith. This band released two albums (1969-'70) with their best-known song being “Baby, It's You.”

"Easy Rider" (back)

Dunhill-ABC label

"Kyrie Eleison" - The Electric Prunes / "Easy Rider" clip (1969)

A1  Steppenwolf - "The Pusher" 5:48
A2  Steppenwolf - "Born to Be Wild" 3:29
A3  Smith - "The Weight" 4:29
A4  The Byrds - "Wasn't Born to Follow" 2:03
A5  The Holy Modal Rounders - "If You Want to Be a Bird" 2:35
B1  The Fraternity of Man - "Don't Bogart Me" 3:02
B2  Jimi Hendrix Experience - "If Six Was Nine" 5:32
B3  The Electric Prunes - "Kyrie Eleison" 4:02
B4  Roger McGuinn - "It's Alright, Ma (I'm Only Bleeding)" 3:03
B5  Roger McGuinn - "Ballad of Easy Rider" 2:13

The Byrds
The Holy Modal Rounders
Fraternity of Man
Jimi Hendrix Experience
The Electric Prunes
Roger McGuinn

Good stuff.

Casey Chambers

Wednesday, July 3, 2019

I Went...SI--SI--SIRIUS...All The Way Home (again)

(a short jaunt)

"Brainwashed" - George Harrison / "Brainwashed" (2002) 

The last song on George Harrison's last album.  He rifles off verses in a rhyme cadence similar to the way Bob Dylan would stream-of-conscious an idea out. And the song ends with his familiar Middle Eastern chants.  Nothing preachy and not unpleasant.  I enjoyed all the sounds and vibes.  His son Dhani joins him.  And the way the song (album) fades out seems rather fitting.  George passed before the album was released but he did leave good instruction.  I enjoyed this song and now am curious about the rest of the album.

"Permanent Waves" - The Kinks / "Misfits" (1978)

The Kinks are giving us a bit of a sneak-peak of the new wave phase to come.  It's another one of their "fashion songs" that Ray Davies loves to tongue-in-cheek.  In this case, "Permanent Waves" suggests getting yourself as quickly as possible to an Eric Fisher (or a place of your choice) for a major hair makeover.  I had to double-check when I got home to see if I owned this album.  I do.  It was the follow-up to “Sleepwalker” (1977) which I quite liked.  But holding “Misfits” in my hand, the only thing I could remember from the album was "A Rock & Roll Fantasy."   So that gave me a reason to spin it again.  Always great to have a purpose.

"This Ain't the Summer of Love" - Blue Öyster Cult / "Agents of Fortune" (1976)

 "Feeling easy on the outside, but not so funny on the inside.
Feel the sound, pray for rain...for this is the night we ride.”
So opens the classic “Agents Of Fortune” album.  This BOC song is short and in your face.  And a great reason to kick your bike and go.  At night, of course.  Always at night.  Love the Buck Dharma solo and the Joe Bouchard burning bass.  Everyone knows this classic album, so it was especially nice to hear something pulled besides “the cowbell song!”  And a good reason for everyone to revisit my Joe Bouchard interview.


Good stuff.

Casey Chambers