From the Velvet’s 3rd, self-titled album. Love the guitar and organ work on this song.
From the Velvet’s 3rd, self-titled album. Love the guitar and organ work on this song.
The ending to director Robert Altman’s funny, brutal, bone-chilling satire from 1975, “Nashville,” one the greatest movies of all time. The scene starts right after the assassination of a Loretta Lynn-inspired Country singer and a wannabe singer played by Barbara Harris is given the mic to restore order and peace in the wake of a horrific tragedy. Some critics have opined that this scene is a cynical statement on celebrity, but I see it as something more profound. When tragedies happen, whether they be celebrity assassinations (i.e. John Lennon) or something substantially more catastrophic (9/11), people need hope. People need to know that things are going to be OK. It’s too easy to sneer and snicker that the world is a horrible place, that humans are horrible motherfu–ers who only look after themselves. The notion and belief that there is a better way is way ballsier, in my mind. If you feel this is a Pollyanna-esque view, I disagree and feel sorry for you. Making the decision to believe in something is not a fool’s errand. If you’ve done your homework and take a stand, it’s the most courageous thing you can do.
Any resemblance to real persons, living or dead, is purely coincidental.
A smokin’ late 1970s blues-punk cover of the Rolling Stones’s flower-power anthem “We Love You.” Very reminiscent of Australia’s The Saints, Cock Sparrer were a terrific band that just seemed to never catch a break. Rumor has it that Malcolm McLaren was apparently interested in the band, but the band dismissed him because he wouldn’t buy them a round. They signed to Decca Records during that storied label’s final days and only managed to see their records released in Spain. They hung in there, recorded some good albums, but never quite achieved the commercial success they deserved. Highly recommended is the “Rarities” album which compiles all of the recordings they made for Decca. A truly underrated album for the ages.
OK, this is a lovely (sounding) song from the Stones’ terrific 1967 folk-influenced album “Between the Buttons.” I love the album and it’s highly regarded by many, but it’s an album which Mick Jagger allegedly dismisses these days as “rubbish,” except oddly (or tellingly) for this song. “Girl” sounds pretty, but arguably makes “Stupid Girl” and “Under My Thumb” sound like outtakes from Lilith Fair. Of course, Jagger and the gang could be doing an ironic Randy Newman-esque take on a sleazy, phliandering rich guy, which I would buy … except for the fact that I’m sure that the attitude of the song’s narrator is not far from the way they probably felt about women back in the day. A great song with contradictory and often troubling messages? Hmm … sounds like the Stones to me in a nutshell.
Another killer track from the “War Child” benefit album, “Heroes.” This time it’s Peaches doing a Neu!-style cover of Iggy and the Stooges’ classic punk song from hell “Search and Destroy.” Extra kudos to Peaches for doing a VERY non-standard, but stupendous version of this raver.
A cover of David Bowie’s best song, performed by a band Bowie handpicked to record the song for the War Child benefit album “Heroes” from 2009. War Child is a non-governmental organization founded in the UK 1993, which focuses on providing assistance to children in areas of conflict and post-conflict. So, if you’re looking to do something good and want some really killer music at the same time, purchasing the “Heroes” album provides a nice way to do this.
A rare (and very baroque) ballad by Mott the Hoople, from 1971. According to legend, lead singer Ian Hunter wrote it while he going through an early divorce, as Waterlow Park in North London was where he used to take his children. You can tell that R.E.M. likely took notes when composing “Drive.”
One of the three lovely, almost-forgotten country songs recorded for the Talking Heads’ underrated “True Stories” album in 1986. As snarky as the “True Stories” movie seemed, the music was anything but, including this gem.
Can you sense a theme here today? Sorry, but I’m just really digging late 1970s English variety power pop this lovely afternoon. Rockpile was a “supergroup” for the power pop era if there ever was one: Dave Edmunds, Nick Lowe, Billy Bremner, and Terry Williams. And their album managed to squeeze into the US Top 40 back in the day as well. Too bad Rockpile didn’t record a follow-up, though according to Wikipedia, Lowe’s “Labour of Lust” and Edmunds “Repeat When Neccessary” and “Tracks on Wax 4” were technically Rockpile albums.