The Persuaders - "Some Guys Have All The Luck" (the song remains the same)

If there is an award for most cover versions of song that never gets played on the radio, "Some Guys Have All The Luck" would win hands down. My first recollection of this song is from the Rod Stewart video on MTV. Although the video received a fair amount of play for a short while and was a single from his 1984 LP "Camouflage", I don't recall on it on any of the local radio stations. It has the dorky, casio-keyboard sound that I absolutely hated (esp. since I was in my metal phase), but I still kind of liked this song. I was sort of surprised that I liked it, especially considering that Stewart failed to make interesting music after 1981's LP "Tonight I'm Yours" (edit: once again, Danette has accused of being too generous; she says Rod Stewart ceased being interesting ca. 1977). I didn't realize at the time the song was a cover and that was probably the reason why I liked the song despite the modish production.

I can't quite remember when I discovered the Robert Palmer version. At first, I thought it was Palmer covering Stewart, but later I learned that Palmer's version came out in 1982 on "Maybe It's Live". It still has an early 80's sound, and there's actually a video for this version, but it is 1) bizarre and 2) NSFW. I'm not sure why in 1982 you would make a video that you know can't play on MTV. Furthermore, he really only borrows part of the chorus from the original -- it is almost more of a remix than a cover.

After doing a little poking around on the Web, I learned SGHATL is actually a 1969 single from the R&B group The Persuaders. It was a top 40 hit for them then, but I don't recall ever hearing it on an oldies channel. Knowing that Robert Palmer based a lot of his material on R&B covers (and to a lesser extent, Rod Stewart as well), this made sense. And their version is quite good, even if it sounds modish as well.

A little more poking around on the web and I found that Derrick Harriot release a reggae / proto-dance hall version in 1974; this version is quite good too. Maxi Priest released another reggae version in 1987, but this one doesn't do much for me.

Saving the best for last, I uncovered on YouTube a "live in the tour bus" recording by Camera Obscura (whom you may recall from my glowing review of "Let's Get Out of This Country") which is, as far as I know, not available on any of their official releases. No disrespect intended to original writer Jeff Fortgang, or Robert Palmer, but Tracyanne Campbell is always going to trump the others in my book.

The Persuaders: YouTube.

Derrick Harriot: YouTube.

Robert Palmer: Dailymotion, TOTP version.

Rod Stewart: Dailymotion.

Maxi Priest: YouTube.

Camera Obscura: YouTube.

Liz Phair - "Liz Phair" (LP Review)

Danette has accused me of being too generous in my reviews, but I think I'm just reviewing my favorite stuff first. But just to be fair, I'll review something that's really, really bad: Liz Phair's fourth LP, 2003's self-titled "Liz Phair".

OK, so that's cheating a bit -- everyone knows this is a terrible LP. Liz Phair hit the scene in 1993 with "Exile in Guyville" and it was a critical blockbuster. Everybody loved Liz: the sexy, brash, irreverent, pottymouthed girl-next-door. The critics loved her so much, in fact, they could never quite forgive her for not continually re-releasing "Exile in Guyville". The analogy to M. Night Shyamalan is obvious.

But in 2003, she hit rock bottom. Eager to trade in her indie cred for something more tangible (she warned us, see: 1998's "Shitloads of Money"), she enlisted the production team The Matrix and strived to write more commercial songs. Not coincidentally, "Liz Phair" was the first LP to not feature re-recorded songs from her early Girly Sound demo tapes. The result is that she ended up imitating her imitators -- she became a 36 year-old Avril Lavigne. She simultaneously failed to gain significant cross over success and yet still managed to alienate her indie fan base. Where her earlier LPs were clever/funny/shocking, "Liz Phair" is stale/calculating/hollow. As David St. Hubbins tells us: "It's such a fine line between stupid, and clever."

The result was scathing reviews that were more clever than the LP itself: the NY Times called it "Liz Phair's Exile in Avril-ville" and Pitchfork Media gave it a 0.0. Ouch. On a 10 point scale, that's like going to 11 the bad way. I tried to think of my own witticism for this review, but the best I could come up with was a couple of Spinal Tap retreads. If she mailed it in, so will I.

I will say that I actually like the songs "Extraordinary" and "Why Can't I?". And I'm further ashamed to say those are two of the four songs that she co-wrote with The Matrix. Since The Matrix only contributed to four songs, two of which I actually like, I have to conclude that Liz bears most of the blame for this LP, where the other 12 songs vary between "bland" and "awful". I could call them out one by one, but what's the point? The less said about them the better. Finally, the video for "Why Can't I?" is terribly clever -- a must see, slightly anachronistic homage to CD jukeboxes and 1960s-era cover art.

Standout songs: "Extraordinary" (different version, from the movie "Raising Helen"), "Why Can't I?"

Skip 'em songs: all of the others. really.

Final score: 3/10. Tough love.

Weird Bonus Link: A video (from spinner.com) that appears to be an apology for the LP, conflating The Matrix production team and the film The Matrix. Maybe it seemed funny on paper, but it just makes things worse.

Honeymoon Suite - "New Girl Now" (forgotten song)

So when is the last time you heard this one? I recall "New Girl Now" getting a small amount of radio airplay when it came out in 1984, but I can't recall it having a video on MTV. It was the first single from the self-titled LP by the Canadian band Honeymoon Suite.

Even though it came out in 1984, the sound is late 70s / early 80s new wave. Perhaps they were destined to be just a one hit wonder (at least in the US), or perhaps they were simply eclipsed by the emerging college / alternative sound.

YouTube: "New Girl Now".

Joy Division - "Atmosphere" (the song remains the same)

"Atmosphere" might be Joy Division's best song, arguably even better than the popular "Love Will Tear Us Apart". The latter still gets airplay, but I don't recall ever hearing the former on the radio. JD fans know, of course, but the casual listener has probably never heard "Atmosphere".

A non-LP single, it was first released in 1980 as the A-side on a very limited release 7" "Licht Und Blindheit" and then later the same year as a double A-side 12" single: with the UK version having "Atmosphere" as the A-side and the US version having "She's Lost Control" as the A-side. Of course, most of us have it on 1988's compilation LP "Substance".

In many ways, "Atmosphere" sounds unlike any of their other songs. While still sounding desolate, it does not have the typical menacing, frenetic JD sound. As the name suggests, it has a soundtrack quality to it: slow, majestic, sprawling. The video evokes the same feelings, but I have to admit the hooded figures running through desert remind me of Jawas. I don't think that was JD's intent, but they can't claim prior art since the song came out three years after Star Wars.

The slowcore band "Codeine" does an excellent cover of "Atmosphere" which can be found on the tribute LP "A Means To An End - The Music Of Joy Division". Although I'll eventually review the LP, here's a spoiler alert: there are only a few gems on it, but Codeine's version is amazing. First, the slowcore sound allows Codeine to out-desolate JD: true to their name "Codeine", they have the Black Sabbath, slow-doom sound but without the distortion pedals. Second, although "Atmosphere" is best recognized for Stephen Morris's innovative drumming, the percussion is almost entirely removed in the Codeine version. I can only imagine the conversation went like this:

Q: "How do we honor the trademark drum work on this track?"
A: "We don't even try."
Q: "What do we do instead?"
A: "Play it even slower."
Q: "Do you feel sleepy too?"
A: "Yes."

Third, as if the above weren't enough, they slightly changed the lyrics. According to Shadowplay, in JD's version the third verse is:

People like you find it easy
Naked to see - walking on air
Hunting by the rivers
Through the streets, every corner
Abandoned too soon
Set down with due care
Don't walk away - in silence
Don't walk away

Codeine's version is:

People like you have it easy
Face like the sun - walking on air
Haunted by your face, every street, every corner
Abandoned too soon
Don't walk away - in silence
Don't walk away - in silence

Although I hesitate to go against Ian Curtis, I really think the Codeine version is better. I suppose it could have been a lyrical variation from Curtis himself, but the Shadowplay site would presumably mention if that were true. Codeine's changes to the song both expand and honor the original.

Peter Murphy (formerly of Bauhaus) and Trent Reznor (of NiN) also did a cover of "Atmosphere" on the "2006 Radio Sessions". And while I love the idea of a Murhpy & Reznor cover version, it is a pretty straight forward interpretation. More JD covers is a good thing, but their version doesn't push like Codeine's.

Joy Division: "Atmosphere"
Codeine: "Atmosphere"
Peter Murphy & Trent Reznor: "Atmosphere"

Bonus links:
"Dead Souls" (B-side of "Licht Und Blindheit" 7") (live version)
"She's Lost Control" (Alternate A-side of 12")

Black Sabbath - "Vol. 4" (LP Review)

This review goes out to Butch @ Squealer Music. Butch and I share an interest in drone & doom music and he's turned me on to some cool bands like Earth, Sunn O))) and Deathprod. I plan to review LPs by those artists later, but first I thought I'd start with our mutual interest in the progenitor of doom, Black Sabbath.

Unlike most metal bands from my youth, I can honestly say that I enjoy Sabbath nearly as much now as I did then. And who doesn't, really? People who do not count themselves as fans probably sing along to songs like "Paranoid", "Iron Man" or maybe even "War Pigs". Ozzy-era Sabbath has a popular music legacy that is larger than most casual fans might imagine.

Having said that, Sabbath is probably best well-known for their great songs, not necessarily their great albums. For every "Paranoid"-quality song on an LP, there seemed to be something like "Planet Caravan". OK, so "Planet Caravan" is kind of cool in its own way, but check your iTunes play count and tell me how it rates compared to other Sabbath songs. Be honest.

Butch and I discussed our favorite Sabbath LPs one time, and while I think he went with "Master of Reality", I have to say their greatest LP is 1972's "Vol. 4". It has fewer hit songs (I'm not sure any get current radio airplay), but it is arguably the strongest start-to-finish LP they released (at least in the Ozzy era). I could make an argument for 1973's "Sabbath Bloody Sabbath", but the inclusion of keyboardist Rick Wakeman made for interesting songs, but ones that rawked less.

I'm not entirely sure why the songs from Vol. 4 don't get airplay on the classic rock stations: standouts like "Wheels of Confusion", "Tomorrow's Dream", "Supernaut", and "Under the Sun" are upbeat, have killer riffs and are very heavy. It might be that none of these songs have sing-along choruses like "Paranoid" and "Iron Man". For example, you can probably sing along with the guitar riff of "Supernaut" (which is at least as good as "Paranoid") better than you can remember and sing along with the lyrics ("I want to reach out and touch the sky / something something something / something something something..." -- there's actually no chorus).

Come to think of it, "Changes" is pretty much is the only song that you can sing along too. I also consider it the weakest song on the LP. It is not really bad, and you do have to give them credit (blame?) for basically inventing the metal power ballad genre, but it clearly not as enjoyable as the other songs. I'm ambivalent about the cocaine-themed "Snowblind", its neither bad nor good. The only truly skippable song is "FX"; 1:44 of electronics noodling which I guess seemed cool at the time.

"Laguna Sunrise" is the "pretty" instrumental Sabbath has on nearly every LP that serves as a vehicle to demonstrate Tony Iommi's guitar virtuosity. "St. Vitus Dance" is a nice example of Sabbath doing "hippie metal" -- it even has acoustic guitar in parts.

Another thing I like about this LP are the medleys: "Wheels of Confusion" leads into "The Straightener" and "Wheels of Confusion" interpolates "Every Day Comes and Goes" -- sort of a metal version of "A Day in the Life". The song writing and arrangement is at Sabbath's zenith here. This is the last LP where the drugs amplified their creativity instead of hurting it.

So despite the limited radio / single impact, I think this is their finest LP. They had recorded better individual songs before and after this, but as a collection of songs this is their high water mark.

Standout songs: "Wheels of Confusion / The Straightener", "Tomorrow's Dream", "Supernaut", "Cornucopia", "St. Vitus Dance", "Laguna Sunrise", "Under the Sun / Every Day Comes and Goes".

Skip 'em songs: "FX", "Changes".

Final score: 9/10. "FX" and "Changes" keep this from being 10/10.

2010-06-18 Edit: Butch insisted I include this link for "Snowblind". I'm surprised at how many high-quality, 1970s concert videos you can find on YouTube.

2012-07-05 Edit: The entire LP on YouTube.  

The Beat - "Save it for Later" (forgotten song)

Continuing my tradition of interpreting contemporary artists through the lens of 1980s alternative / college radio... I've seen Vampire Weekend on SNL twice (2010: "Cousins", "Giving Up the Gun", 2008: "A-Punk" and "M79") and The Colbert Report once (2010: "Holiday"). I kind of like them because, and I don't mean this as a left-handed compliment, they remind me of The English Beat. Well, they were just known as the "The Beat" in the UK, but they were the "The English Beat" in the US to avoid collision with Paul Collin's (formerly of The Nerves) band "The Beat".

The Beat were a late 70s / early 80s ska band on the 2 Tone record label in the UK, the same label that gave us The Specials, Madness, and other staples of early MTV. The Beat recorded three LPs and then disbanded, with former members going on to form the mid- to late-80s MTV staples General Public and Fine Young Cannibals. I didn't really care for either of those bands but The Beat had several good singles, and they've all but disappeared from radio.

The most popular in the US was "Save it for Later", a single off their 1982 LP "Special Beat Service" which received a good amount of MTV exposure, although I'd have to say that 1980's single "Mirror in the Bathroom" (from their debut LP, "I Just Can't Stop It") is a better song (more ska, less pop). I've chosen to feature "Save it for Later" since it is the one that is closest to the Vampire Weekend sound. If Vampire Weekend would just add horns and maybe some toasting and they'd be right at home on 2 Tone, circa 1980. And that's not too bad...

"Save it for Later": YouTube.

Bonus Link (as per the double A-side single image above) : "Mirror in the Bathroom": YouTube.

Rainbow - "On Stage" (LP Review)

So I've been wondering how to commemorate the passing of Ronnie James Dio... Anyone who knew me in high school remembers that I was a huge fan. I believe it was Chris Miller that gave me a tape of "Holy Diver" right after it came out in 1983, and from there I slowly worked my way backwards through Dio's canon: Black Sabbath, Rainbow, then Elf. That was back in the pre-Web days when working out a discography took a lot of research (time and $) in the record store. I was proud that I had eventually collected all of his LPs on vinyl, including the Elf LPs which, truth be told, aren't very good.

By college I had mostly outgrown my fascination with the D&D / fantasy / metal genre, of which RJD was a central figure, but he'll always be nostalgically significant and I was saddened by his passing. But which LP to review for F-Measure? "Holy Diver" and "Heaven and Hell" are obvious choices -- too obvious, IMO. The same argument could also be made for "Mob Rules", which is at least as good as the latter two but often overlooked.

But perhaps the most important to me was "On Stage", the mostly forgotten 1977 live double LP from Rainbow. For one, I really love Ritchie Blackmore's guitar playing: fluid, effortless, expressive. I'm a Deep Purple fan as well, but Blackmore seems more comfortable here than any of his previous or later LPs. The rest of the lineup features Rainbow at the their finest: Cozy Powell (drums), Tony Carey (keyboards), and Jimmy Bain (bass). Dio would work with most of these people again in later lineups (Dio/Sabbath/Rainbow/Purple/Whitesnake all regularly swapped members from LP to LP), but this lineup, the same as on "Rainbow Rising", is Rainbow's strongest.

The second reason this is a good LP to revisit is that Dio's latter fantasy themes are only partially developed here. Sure, songs like "Kill the King", "Sixteenth Century Greensleeves" and "Man On the Silver Mountain" hint at the thematic direction for the rest of his career, but imagery is not quite as over the top here. Granted, I liked the fantasy themes 25+ years ago (cf. my review of "Queensryche"), but they seem silly now. At the time, I thought Blackmore's presence reined in some of the fantasy imagery, but ironically Blackmore's project of the last 10+ years, Blackmore's Night, is 100 times worse in its Spinal Tap cliches.

The LP itself features some of the excesses of 1970's live LPs: lots of patter with audience, long songs featuring extended solos of every kind, etc. Blame Frampton, the Grateful Dead, or maybe even Deep Purple: there was a template for live LPs at the time, and extended fusion jams is what you got. For some songs, it doesn't work: the medley of "Man on the Silver Mountain / Blues / Starstruck" would be stronger as two separate songs and without the "Blues" interlude.

On the other hand, the extended jams work in the case of "Mistreated" (a cover from "Burn" by Deep Purple, Mk. III), "Still I'm Sad" (a cover off the "Having a Rave Up" LP by The Yardbirds) and "Catch The Rainbow". The latter song is really the jewel of the entire LP; a 15:36 long workout of soft-loud-soft-loud-soft. Dio, Blackmore and Powell are all in exceptional form on this song. Occupying the entire side two of the vinyl, I used to listen to this song on maximum volume more times than I can remember. The soft->loud transition from ~8:15-9:40 remains one of my favorite musical passages. Listening to this version of "Catch the Rainbow" is an investment for me and is something that can't be done casually.

I've recently discovered that in 1990 Polydor reissued "Live in Germany" which appears to be recorded from the same tour as "On Stage", but perhaps without some of the editing required to fit "On Stage" to vinyl. I haven't brought myself to purchase this LP yet -- revisiting new/old RJD recordings isn't something I've been especially eager to do, "The Last in Line" was the last LP of his I really enjoyed even though I bought a few after that. Perhaps "Live In Germany" is actually a better LP, but I'm choosing to remember RJD with "On Stage" and in particular "Catch the Rainbow".

Standout songs: "Catch the Rainbow", "Mistreated", "Kill the King", "Sixteenth Century Greensleeves", "Still I'm Sad".

Skip 'em songs: "Man on the Silver Mountain / Blues / Starstruck" (or at least the "Blues" portion of this track; the link here is nicely just MOTSM).

Final score: 9/10. I've tried to adjust for the nostalgia factor, but it should be apparent from the above that is not easily done.