Bruce Springsteen - "For You" (the song remains the same)

I recently reviewed "Blinded by the Light", the song from Bruce Springsteen's first LP, "Greetings from Asbury Park, N.J." that was made famous by Manfred Mann's Earth Band. For MMEB's 1980 LP "Chance", they went back to the well again, recording "For You" from Bruce's 1973 debut LP. (Bruce never released "For You" as a single, so I chose MMEB's covert art.)

I don't recall ever hearing Bruce's version on the radio, only occasionally for the MMEB version, and nothing on classic rock radio in I don't know how many years. Which is too bad, since this is quite a good song. MMEB used the same formula they used on BBTL: increasing the production complexity and greatly simplifying the lyrical complexity (three stanzas to 1.5 stanzas), even to the point of removing half of the chorus. The LP version clocked in at almost 6 minutes, but the 7" version is just under 4 minutes. Bruce's version:

I came for you, for you, I came for you, but you did not need my urgency
I came for you, for you, I came for you, but your life was one long emergency
and your cloud line urges me, and my electric surges free

MMEB's version:

I came for you
I came for you
I came for you
For you
I came for you

Eliminating the urgency/emergency portion significantly changes the meaning of the song; explore the original version and the MMEB version for additional changes.

For You: Bruce Springsteen (studio version, 1978 live version), Manfred Mann's Earth Band (7" single version, LP version, 1986 live version).

And for completeness, I suppose I should mention the 2005 release by The Disco Boys, based on the MMEB version: Radio Edit version, Freemasons Remix version.

Cowboy Junkies - "The Trinity Session" (LP Review)

I was recently extolling the virtues of this LP to Herbert, and I've given/recommended it as a gift several times before so I decided I should go ahead and review it. Simply put, the Cowboy Junkies 1988 sophomore LP, "The Trinity Session", is one of the best LPs of all time. The story of the actual recording session is now legendary: on a shoestring budget, the group rented the Church of the Holy Trinity in Toronto (they're Canadian) for one day and recorded the entire LP live with one mic (ok, technically they forgot to record the a capella "Mining for Gold" during the weekend and recorded it a few days later in the church during the lunch break of the Toronto Symphony Orchestra's recording session). The warm acoustics of the church, the intimate, spare production, the lonely, hazy songs -- it all combines to transport you to the session itself, like you helped the band move their gear and watched and listened to the LP unfold.

But what is less well-known but more interesting to me is that this LP is a love letter to & reinterpretation of country music. On the band's website they have extensive notes about their experiences touring the American South in support of their previous LP and being introduced to country music:

[W]e had spent a lot of time in the Southern States, especially Virginia, Georgia and the Carolinas. ... Those were the days when having to spend a night in a hotel room would mean the difference between eating the next day or paying for the gas to get us to the next town, so we spent a lot of our time sleeping on the floors of friendly promoters, fans, waitresses and bartenders. One of the best part about being "billeted" was that each night we were exposed to a new record collection and each night we'd discover a new album or a new band or a whole new type of music that was springing up in some buried underground scene somewhere in America. ... A style of music that we were heavily exposed to at that time was country music. It wasn't like everyone we ran into was a country music freak, but growing up in the South, most people had been exposed to a lot more of it than we had growing up in suburban Montreal. There would inevitably be in every collection one or two great country music records that had been lifted from their parents as they moved out. Sitting there between the latest Death Piggy single and Coltrane's Giant Steps would be something like Waylon Jennings' Honky Tonk Heroes, or Patsy Cline's Greatest Hits, The Louvin Brothers, The Carter Family, Bill Monroe, Hank Williams, Willie Nelson, Merle Haggard and the list goes on. We drank it up.

Sometimes you don't really understand something that you take for granted until it is processed and presented to you by someone from another culture or background (cf. my discussion of Robbie Robertson's "The Night They Drove Old Dixie Down"). In doing so, the Junkies helped revitalize/define the genre of alt country, infused from their lo-fi, hazy, barroom blues sound from their first LP, "Whites Off Earth Now!!" (see also: "Me and the Devil Blues").

On this LP, the CJs don't simply cover country songs, but reinterpret them, and let the attitude infuse their other songs as well. For example, they do a slow, aching version of "I'm So Lonesome I Could Cry" that I think Hank Williams would approve of. Ditto a six minute blues jam version of Patsy Cline's "Walkin' After Midnight". They also strip down "Dreaming My Dreams With You" by Waylon Jennings, and do a surprisingly upbeat version (for them) of the traditional song "Working On a Building".

They go beyond straight covers with their version of "Blue Moon", mixing an original song with the Rodgers & Hart standard to yield "Blue Moon Revisited (Song for Elvis)". The result is genius; acknowledging the presence of Elvis without overshadowing the rest of the collection.

Despite my high praise for the above songs, the star of the show is without question their rolling, relaxed cover of The Velvet Underground's "Sweet Jane". One doesn't normally associate the Velvets with, say, Patsy Cline or Hank Williams, but the CJs figured out how to make it work. Lou Reed himself has said that the Cowboy Junkies version of "Sweet Jane" is "the best and most authentic version I have ever heard" -- you're not going to find higher praise than that.

Although I've spoken mostly of their covers, the LP features a handful of originals like "Misguided Angel" (a disturbingly beautiful song about an abusive relationship) and "200 More Miles" (a road song that appropriately namechecks Willie Nelson) that are excellent songs worthy of their placement in the LP. There are a few missteps on the LP, for example Jeff Bird's harmonica on "I Don't Get It" and "Postcard Blues" is a little too shrill for my tastes, but these flaws are easily forgiven.

Conventional wisdom on the Cowboy Junkies is that "The Trinity Session" was their creative high point. I have most of their other LPs and I would agree that this is their best (though the others are quite good), but whereas many other critics blame them from not deviating from the formula they introduced on this LP, I think their fortunes waned when their sound became more polished and mainstream. I don't normally wish for bands to miss out on financial and critical success, but I kind of wish that it had avoided the CJs for a while longer and they could have made a few more LPs like this.

Standout Songs: "Mining for Gold", "Misguided Angel", "Blue Moon Revisited (Song for Elvis)", "I'm So Lonesome I Could Cry", "200 More Miles", "Sweet Jane", "Walkin' After Midnight". (The entire LP at grooveshark.com).

Skip 'em Songs: n/a

Final Score: 10/10. Perfection.

Bonus Links:

Elvis Presley - "Blue Moon"
The Velvet Underground - "Sweet Jane"
Patsy Cline - "Walking After Midnight"
Waylon Jennings - "Dreaming My Dreams With You"
Bill Monroe & The Bluegrass Boys - "Working on a Building"
Hank Williams - "I'm So Lonesome I Could Cry"

Julee Cruise - "Floating Into the Night" (LP Review)

To most people, Julee Cruise will remind them of the TV series "Twin Peaks", but I didn't watch much TV in college when the series was on. But this music does remind me of my senior year of college, when I and my roommates Terry, Jason, and Frey would stay up all hours of the night drinking beer and playing Hearts and Spades. It didn't do much for our studies, but we became expert at shooting the moon and going under with almost any hand. Of course we'd listen to music as we played, and this LP was a constant favorite for all four of us. Individually we all had substantial CD collections and together we had maybe 15 linear feet of CDs, which was quite a lot at the time. I'm not sure who had this CD (Jason?), but I quickly purchased my copy after moving out.

Simply put, "Floating Into the Night" is one of the best LPs of all time, featuring the perfect collaboration between Julee Cruise (vocals), Angelo Badalamenti (composer), and David Lynch (lyricist). Badalamenti has composed many soundtracks for Lynch, and the collaboration with Cruise actually began with the song "Mysteries of Love" for the film "Blue Velvet". That song lead to them recording a full LP's worth of songs, culminating in the 1989 release of "Floating Into the Night", prior to the release of Twin Peaks (90-91).

If you're familiar with Lynch's films, you know that they are surreal, dream-like, and often deal with dark, disturbing themes and images. Badalamenti's dream/lounge arrangements perfectly complement Lynch's imagery but the real surprise is Lynch's lyrics, which depict scenes which are best described as bittersweet, bucolic, Rockwellian, nostalgic, and child-like. The lyrics juxtaposed with the foreboding soundscapes makes the entire experience that much more powerful. Consider the closing lyrics to "Rocking Back Inside My Heart":

Do you remember our picnic lunch?
We both went up to the lake
And then we walked among the pines
The birds sang out a song for us
We had a fire when we came back
And your smile was beautiful
You touched my cheek and you kissed me
At night we went for a stroll
The wind blew our hair
The fire made us warm
The wind blew the waves
Out on the lake
We heard the owl in a nearby tree.
I thought our love would last forever.

Simple enough, but when combined with the music they become quite unsettling in an unexpected way.

With the possible exception of "Swans", all the songs on this LP are perfect, memorable, and distinct: the horn riff on "Floating", the bass on "Falling", the 50s-era "shu bops" at the end of "I Remember", the swing sound of "Rockin' Back Inside My Heart", sweeping sounds of "Mysteries of Love", the musical surprise at ~3:28 of "Into the Night", the horns of "I Float Alone", the vocals of "The Nightingale", the solemnity of "The World Spins". "Swans" is not bad, but at 2:33 it does not add much to the LP.

Cruise, Badalamenti, and Lynch would all work together again on 1993's "The Voice of Love", and while that is not a bad LP it does not come close to capturing the magic of "Floating Into The Night". Danette says I'm too generous with my perfect scores, but this LP clearly deserves it. Whether it is evokes late nights playing cards, Twin Peaks, or simply nostalgia viewed through the twisted prism of David Lynch, once you've listened to it this LP is not easily forgotten.

Standout songs: "Floating", "Falling", "I Remember", "Rockin' Back Inside My Heart" (live), "Mysteries of Love", "Into the Night", "I Float Alone", "The Nightingale", "The World Spins" (live).

Skip 'em songs: none.

Final score: 10/10.

Bonus links: Entire LP.  Some of the live versions are from the concert film "Industrial Sympony No. 1".

Red House Painters - Red House Painters (LP Review)

What if you combined elements of 1980s goth/punk (e.g., The Cure, The Jesus and Mary Chain), alt-country (e.g., Cowboy Junkies, Mojave 3), and slowcore (e.g., Low, Codeine), and the result was...  boring?

That would be Red House Painters, at least as I listen to their 1993 eponymous LP informally known as "Rollercoaster" (to differentiate it from their other 1993 eponymous LP known as "Bridge"). I generally like to become very familiar with an LP before I review it, but I actually haven't had this LP long. I read an effusive review somewhere online (Allmusic perhaps?) and purchased it without a lot of other research. Having just listened to it again tonight, the best thing I can say is there are no bad songs. Unfortunately, there are no good songs either. Just 14 unremarkable songs that evoke all of the influences listed above, but otherwise do nothing for me... and I really like this genre!

Perhaps I would have felt differently in 1993, or maybe if I gave it a few more listens, but I feel I've listened to it enough to render an opinion: there were many LPs released in 1993 and this is one of them. It reminds of Roosevelt's quote about "those cold and timid souls who neither know victory nor defeat."

Standout songs: n/a

Skip 'em songs: n/a

Songs that appear: "New Jersey", "Strawberry Hill", (find more at Grooveshark)

Final score: 5/10. Suitable for background listening only.

Bruce Springsteen - "Blinded by the Light" (the song remains the same)

How should I observe the passing of Clarence Clemons? An obvious choice would be "Jungleland", which is often cited as having one of Clemons' best solos (it occurs ~ 4:03 in this live 1978 version). Instead, I'm going with a song most people probably don't know was written by Bruce: "Blinded by the Light", the first (and ultimately unsuccessful) single from Bruce's first LP, 1973's "Greetings from Asbury Park, N.J.".

"Blinded by the Light" was later made famous by Manfred Mann's Earth Band as a single from their 1976 LP "The Roaring Silence". Whereas Bruce's version was still very much in Dylan's shadow, MMEB trimmed the voluminous lyrics (original lyrics vs. MMEB's lyrics), provided a slick 70s synth sound, and added some clever counterpoint at the end. The Manfred Mann version came in two versions, both of which you still hear regularly on classic rock radio: a 7 minute LP version and a 4 minute single version. And while it very much sounds like a mid-70s song, I never tire of it (see also: "Cruel to be Kind").

The various characters in the song (the drummer, diplomat, mascot, preacher, chaperone, etc.) are partially explained in the VH1 Storytellers DVD, but the interesting explanation is cut short by the video's editors! Danette bought this as a Christmas present a few years ago precisely because she knows I'm fascinated by this song's cast of characters and she thought all would finally be explained. Unless someone has an unedited version of this performance we'll never know who all these people are (though it is clear they are all real, or at least based on real characters). I've seen various explanations on the web, but none that I'd consider canonical. And if you're only familiar with the MMEB's version, you're missing out on the those that MMEB removed: the "hazard from Harvard", the "dude" from Scotland Yard, the shooting star, and the avatar.

While "Blinded by the Light" is probably not the first song you think of when Clarence Clemons is mentioned, I will point out that it is one of only two GFAPNJ songs on which Clemons appears and as such I consider it a fitting tribute.

Bruce Springsteen: studio version, 1974 live version, 2009 live version, VH1 Storytellers version (starts at ~9:00 into the video).

Manfred Mann's Earth Band: LP version, Single version, 1975 live version.

The Shelia Divine - "Hum" (forgotten song)

I was driving in the convertible tonight, listening to a mix CD (ca. 2002) I keep in the car that I hadn't played in quite a while. Of course, it is entirely sing-along, road-trip music: Juliana Hatfield, Weezer, The Smithereens, Beck, Frank Black, etc. On came a song that I had entirely forgotten about: "Hum", a single from the 1999 LP "New Parade" by The Sheila Divine. Clearly it's a great song or it would not have made the road trip CD.

TSD were a 90s alternative band based in Boston that generated a buzz on college radio, but never quite turned the corner to mainstream success (or even sustained alternative success, for that matter). After 2 more LPs, they eventually broke up in 2003, but reformed in 2010.

I learned of them from "Hum", which received a bit of radio airplay in 1999. I bought "New Parade", but as I recall the rest of the LP did not measure up to the strong hooks of "Hum". I suppose I should give it a listen again (it has been a long time), but in the mean time see if you recall this excellent song. Sure, it sounds like most other 90s alternative bands (expertly working the soft-loud-soft formula in a way that would make the Pixies proud), but that's alright by me.

Hum: studio version, 2001 live version

Pink Floyd - "When the Tigers Broke Free" (forgotten song)

I'll just assume that everyone has seen The Wall at least a dozen times and spare you the exposition on the cultural impact of the LP and film. I'll remind you that most of the songs on the 1979 LP and the 1982 film are slightly different, with many versions re-recorded, Bob Geldof (who played Pink in the film) singing lead on some, etc.

But do you remember "When the Tigers Broke Free", the only non-LP song in the film? It is split in two parts and interpolates "Another Brick in the Wall Part 1". The death of Roger Waters' father in WWII and his subsequent absence during his youth influences a lot of Waters' music, but this song is the most detailed and provides significant historical detail. For example, we can deduce that his father died in Italy during Operation Shingle. I don't often reproduce entire lyrics, but in this case they succinctly motivate the entire franchise that is "The Wall":

It was just before dawn
One miserable morning in black 'forty four.
When the forward commander
Was told to sit tight
When he asked that his men be withdrawn.
And the Generals gave thanks
As the other ranks held back
The enemy tanks for a while.
And the Anzio bridgehead
Was held for the price
Of a few hundred ordinary lives.

And kind old King George
Sent Mother a note
When he heard that father was gone.
It was, as I recall,
In a form of a scroll,
With gold leaf and all.
And I found it one day
In a drawer of old photographs, hidden away.
And my eyes still grow damp to remember
His Majesty signed
With his own rubber stamp.

It was dark all around.
There was frost in the ground
When the tigers broke free.
And no one survived
From the Royal Fusiliers Company C.
They were all left behind,
Most of them dead,
The rest of them dying.
And that's how the High Command
Took my daddy from me.

WTTBF was released as 7" single entitled "The Wall -- Music From The Film". As the name suggests, the single was supposed to be from a soundtrack LP for the film, to complement the 1979 LP. That soundtrack LP never materialized, but instead morphed into the 1982 LP "The Final Cut" (which did not contain WTTBF), the LP that pretty much ended Pink Floyd as we knew it. The 7" single was the only release for the song until the 2001 greatest hits compilation "Echoes" and then the 2004 re-release of "The Final Cut". Despite these belated re-releases, I'm guessing that most of us have only heard the song in the context of the movie.

While musically simple, it is a good song and suits the storyline of the movie/LP well. It also hints at the direction that the solo work by Roger Waters would take in the mid-80s.

When the Tigers Broke Free: (parts 1 and 2 from the film, spliced together): YouTube.

When the Tigers Broke Free, the B-side alternate version of "Bring the Boys Back Home": YouTube.


N.B. In case you did not know, a "tiger" was a formidable German tank from WWII.