Mr. Moderator

Mr. Moderator

When not blogging Mr. Moderator enjoys baseball, cooking, and falconry.

Aug 202008
 


Every once in a while I stumble across a mention of an artist I’ve heard of but have not yet mentally catalogued adequately. What if I’m put on the spot about the works of this artist and do not have a clear point of view? It could be embarrassing! So I click a link on the InterWeb and arrive at a bio or interview that tells me more about this artist than I would have ever thought worth knowing. Maybe you’ve done this too.


Recently I stumbled across the Wikipedia page for songwriter/musician Chip Taylor. The name was familiar, and as soon as I saw he was the writer of The Troggs’ “Wild Thing” some synapses started firing. He also wrote “Angel of the Morning”, which has the same chord progression. Yeah, right! I thought to myself, as if I’d been sitting at a bar with fellow rock nerds. Efficient guy, that Chip Taylor!

As a service to Townspeople who might find themselves similarly stumped for talking points on Chip Taylor, I will run through a few facts and observations that you might find handy the next time his name crops up at a gathering of rock nerds. If we find this helpful, it might be worth posting occasional pieces on other, slightly obscure artists whom you do not want to be stumped by should their name come up at a party.

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Aug 202008
 

Pervis Jackson, the baritone vocalist for The Spinners, best known for his “12:45…” line in “They Just Can’t Stop It (Games People Play)”, has died at 70. You can see Jackson lip-sync his legendary part at the 2:09 mark in the following clip. See if you can control yourself from trying to sing along with him.

After years as a second-rate act on Motown, The Spinners found their sound in Philadelphia in the early ’70s, when they fell under the production of Philadelphia International’s Thom Bell and the MSFB studio musicians. Their numerous hits on Atlantic Records are among my favorite sounds of my preteen and early teen years. Lovely, romantic stuff! For those of you with a taste for this sort of sophisticated ’70s soul, I heartily recommend A One of a Kind Love Affair: The Anthology. It collects the best of the band’s work from their stops in both the Motor City and the so-called City of Brotherly Love.

The band also knew how to have a good time. Have any of you ever heard The Rumour‘s cover of the following song?

Previously, in the News!

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Aug 182008
 

The following example, and our first entry in this Last Man Standing, is an example of about how liberal we may stretch the term “well-known actors.” Beside the musicians, just about everyone acting in a rock music video is an actor to some degree, but if we cannot easily name the person or cite him as “The guy/girl in ______,” as I can do by citing the actor playing the father in this video as “The guy from Animal House,” the actor does not count for this contest. Get it? Good. Let’s get it on!

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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 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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