Aug 162008
 

BigSteve wrote me offlist regarding the little discussion around Roxy Music’s “Angel Eyes”:

Here is the disco version of “Angel Eyes”, if you want to post it to the blog. It’s amusing enough in its own way, but it can’t hold a candle to what I think of as the “real” version of the song. And I think it destroys the momentum of the first side of Manifesto.

Here’s the version he speaks of, the one that’s now the standard version on all CD versions of this album:

Roxy Music, “Angel Eyes (‘UK disco version’)

According to the These Vintage Years site, the original version has the rocking feel that BigSteve speaks of; this “disco” version was released as the single. There was also an extended dance mix of the song that was released and and unofficial 8-minute-plus version that is out there somewhere.

You can here the original version of the song, as well as a rare alternate mix of “Virginia Plain”, at Planet Mondo. Enjoy!

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Aug 162008
 

I came across this Holy Grail – for me – of a YouTube clip today.

I’ve long been in awe of the elements that went into the funky space-rock of “Amazona”, from my favorite Roxy Music album, Stranded: Manzanera’s cool rhythm guitar part and otherwordly (especially on the album) solo, Ferry’s humorous delivery, and Paul Thompson’s rock-solid drumming, in particular. The song, like the best of early Roxy Music, both tickles my sense of psychic unrest and makes me laugh thanks to a tongue-in-cheek tone that extends from Ferry’s lyrics and vocals through the musical arrangements. (Phil Manzanera, on the first few Roxy Music albums and his appearances on Eno albums, is rock’s funniest guitarist.)

The first song I remember hearing by Roxy Music was “Love Is the Drug”, which was a hit just as I was entering my teen years and getting a sense of what needs I might have that this drug might fulfill. That song was easy to like thanks to its tight, funky/reggae groove and sly vocals. I may not have heard much by Roxy Music for the next few years, excepting a minor hit single from one of those later ’70s albums like Manifesto, until freshman year in college, when a friend/”spiritual advisor” turned me on to the first Roxy Music album. That album went down real easy – and still does to this day.

This was just around the time, I’m sorry to say, that I finally got to sample that love drug, if you know what I’m saying. By the end of freshman year I was in love with an actual girl that I could, you know, grope. Powerful stuff, for a first-time user. I hope you’ve all had a chance to experience this drug in multiple formulations.
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Aug 162008
 

Legendary Atlantic Records producer Jerry Wexler died yesterday at 91. How did I miss this news until now? How did it go unmentioned on Rock Town Hall until now?!?!

Wexler always seemed about as cool a cat as one cat could get. I loved the stories of him showing musicians how he wanted a rhythm played by coming out of the booth and doing some dance steps for the musicians to show them the groove he wanted. Recording sessions must have been beyond belief back then. Here’s a link to an excellent interview with him on Fresh Air in 2001. First Isaac, now Jerry. Well, at 91 you can’t say Wexler’s passing was unexpected. Dance on, man!

Previously, in the News!

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Aug 152008
 


It’s hard to believe we’re halfway through the 2008 Summer Olympics and I have not posted my thoughts on Olympic Rock. Some of you may be familiar with this concept: it’s long been my belief that there are certain genres of music that are best judged by the musicians’ ability to hit certain standards, they way gymnasts and divers are scored, for instance. Established forms of Olympic music on which we might agree include rock cover bands as well as their predecessors, Classical music cover bands. In the case of a KISS cover band, for instance, the musicians are judged according to their ability to play the music of KISS as closely to the original studio (and in the case of some KISS tunes, I would presume, live album) versions as possible while also hitting the high, well-defined standards for each KISS member’s Look, gear, stage banter, and chest hair. A first-rate KISS cover band is expected to fit snuggly into the shadows of the masters themselves.


Some genres of rock ‘n roll, I would argue, are “Olympic” in nature. The clearest example of Olympic Rock may be found in Rockabilly. Nothing original is required in Rockabilly; in fact, it might be argued that nothing original is desired. A good Rockabilly band depends on hot licks, hot chicks, hot rods, smokin’ tone, cool threads, long sideburns, and high-stacked pompadours. A great Rockabilly band depends on all those things but done to perfection! And maybe the bassist is really good at riding his standup bass at key points in a performance. Rockabilly judges watch intently, with tattooed arms folded, to ensure that the guitarist is playing the solo in Billy Lee Riley‘s “Trouble Bound” EXACTLY as Roland Janes intended it to be played when he first perfected his licks in some shotgun shack.

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Aug 152008
 

Hello, fellow seekers of the unusual, the out-of-the-way, and the incredibly cheap!

I come to you today as a means of illustrating what can be achieved with just a bit of devotion to the Thrifty Music cause. Old-timers will know that the purpose of this series is to showcase music that I acquire at random through visits to my local thrift stores, flea markets, and yard sales. I don’t seek out specific artists or big paydays from finding obscure collectors’ items for pennies on the dollar (though that’s happened a few times). I mainly just pick up music that “looks good.” There are earlier Thrifty Music posts that explain the HVB Thrifty Music methodology — I encourage you to go back through the archives to learn more — and to hear some obscure music that’s floated across my transom over the last couple of years, for next to nothing.

Today, I thought I’d share the results of one foray, to one thrift store in suburban Maryland, in a neighborhood affectionately called “Korean Corner.” In exchange for a few dollars, I walked home with these choice sides, and relatively few clunkers:

“All American Girl”, Freddy Cannon

This one was real pleasant surprise — like music from a 1962 teen surf movie that actually kicked ass. Don’t you love it when Hollywood actually delivers the goods in those old, crappy, teenxploitation flicks? It happens so seldom, but when they get it right — and there’s some righteously rockin’ music to go with the high-quality, 16mm film and wide-screen color saturation, it’s an awesome thing. No vuh-deo here, obviously, but close your eyes and imagine it. Ahh, the sea… the sand… chicks in bikinis doing the frug… and Freddy Cannon rockin’ it up at the tiki bar.

“Reveille Rock”, Johnny and the Hurricanes

Readers of previous editions of Thrifty Music will know of my weakness for those silly tunes from the ’50s and ’60s that featured straight-ahead, fast-paced rockin’ instrumentals, made noteworthy only because every so often, the band stops for somebody (probably the bassist) to utter some incomprehensible, out-of-context catch phrase or slogan. Here’s one by Johnny & the Hurricanes entitled “Reveille Rock.” In addition to it featuring the required spoken word interludes… man, check out the insane tempo of this number! ‘Fess up, RTHers in bands: how many of you could maintain a pace like this for longer than 30 seconds, without falling to your knees, wheezing for mercy?

“The Monkey Time”, Major Lance

This was a nice find: Curtis Mayfield protege Major Lance, singing a Mayfield composition entitled “The Monkey Time”. If I hadn’t told you who wrote and produced it, I’m betting you could’ve guessed. Gotta love old Curtis!

“Party Down, Parts I & II (HVB Groovealicious Extended Dance Partython Remix)”, Little Beaver

Lastly, a purchase that really made my day. I don’t remember if I featured Little Beaver’s ode to the ’70s party scene, “Party Down,” in a previous edition of Thrifty Music. I do know that my old 45 of the tune — also acquired at a thrift store — was so beat up it’s practically unlistenable. Thanks to the Korean Corner thrift store, I don’t have that problem anymore… and neither will you! Man, I love this song. Righteous, soulful, and jazzy guitar playing, glasses tinkling in the background, a mellow attitude (in the best sense of the word) — makes me want to pour myself a Courvoisier, turn the lights down low, and just chill with a room full of friends. Thanks, Little Beaver — anybody who can write the soundtrack to the perfect party is okay by me. (Note also that I’ve edited both sides of the single together, so you can enjoy six full minutes of Beaver’s laid-back party vibe. Enjoy!)

That’s all I’ve got this week, folks. Tune in next time for some more choice musical tidbits from the milkcrates, junk bins and garbage bags of our great nation.

HVB

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Aug 152008
 

Here’s a running theme that veterans and probably even newcomers to the Halls of Rock will notice in the otherwise piercing and wise posts of Townsman Hrrundivbakshi: “Hippies weaken rock ‘n roll!” I cannot fully subscribe to HVB’s anti-hippie stance, although like others, I find it fascinating. Hippiedom seemed to me such a logical and necessary extension of where rock ‘n roll had been heading. Sure it ran its course after the musical equivalent of the eighth day without a shower, but I still treasure the injection of Flower Power and poor grooming that their long weekend in the hot, stinking sun brought to rock.

An interesting unfinished part of this story, which is only hinted at in the original comments this post generated: Mike Rabon of The Five Americans came across this essay through his feed, or whatever it’s called, and agreed to an interview. I quickly came up with what I thought would have been some cool questions, but after repeated requests for replies and numerous delays, I finally gave up on hearing back from Mike. Too bad, but I know how life can get busier than expected. Maybe I’ll try once more to get a true hero of the anti-hippie scene’s take on all this. Enjoy!

This post initially appeared 11/14/07.

Starting today, I offer a series of short posts that I hope will help illuminate how and why things went so very WRONG ’round about 1967.

Those of you who’ve been following RTH for while now have probably come to understand that I have a visceral dislike for much of what has come to be labeled “hippie” culture. And, if you’ve been following RTH, you probably know that Mr. Mod has never stopped busting my balls for not donning the white lab coat and providing a detailed taxonomy of all the toxins mixed into my beloved rock and roll music by that messy generational burp.

And so it is that I’ve decided to meet Mr. Mod halfway on the field of cultural battle. Starting today, I offer a series of short posts that I hope will help illuminate how and why things went so very WRONG ’round about 1967.

In today’s essay, I hope to let others do much of the talking, and to allow some of hippie music’s main offenders hang themselves on a rope they painstakingly twisted themselves. In the opposing corner, I present my surprise champions of the day, The Five Americans.
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