(Before) Before And After

The cover art is a silk screen print I made in 1978.

I vaguely knew Eno as the guy Eddie Jobson replaced in Roxy Music. At the time I was only familiar their third and Eno-less album, “Stranded” (1973).
I picked “Here Come The Warm Jets”, Eno’s first, because it looked slightly glam, and the title Zappa/Beefheart/Alice Cooper loony. The song titles were just as nuts.
Then I saw that Robert Fripp and John Wetton, two of my favorite musicians from my favorite band, King Crimson were involved.
Buying it was a no-brainer.
It’s Proto-punk Glam rock is nothing like the ambient works he’s largely known for today.
“Baby’s On Fire” features a Robert Fripp solo over 3 minutes long, which stands as some of his most fiery work.
From “Here Come The Warm Jets” to “Burning Airlines Give You So Much More”,
“Taking Tiger Mountain(By Strategy)”, from 1974 is much less ramshackle, but fortunately just as quirky.
When “Another Green World” came out in 1975, things were changing. About half of it is instrumental, pointing the way to his groundbreaking ambient work, “Music For Airports”(1978).
Unlike his previous albums, which were recorded in a very short time, “Before and After Science” (1977) was two years in the making. I never got into that one. I thought it was a little slick and bland.
My original plan for this mix was to be career spanning. I began by listening to Disc 3 of the irritatingly packaged and annotated Eno Vocal Box.
It consists of “R.A.F.” b-side of “King’s Lead Hat”, cuts from “My Life In The Bush Of Ghosts” an impressive yet ultimately dull album, 90’s collaborations with John Cale, “Nerve Net”, and the withdrawn “My Squelchy Life”.
While it wasn’t entirely without charm, it bored me to death. So much so that I nearly gave up.
Fortunately I decided instead to start from the beginning.
There is something in his first 3 albums, that has been missing for decades.
It was before he knew what he was doing. Before success, acclaim, and high profile productions for other artists.
I’m a fan, and he’s been a huge influence on my work as a musician, and a painter. While I like and respect his recent work, these early attempts at rock stardom continue to scratch my itch for art damaged excellence.

Two songs are technically by Phil Manzanera. “Miss Shapiro” is from “Diamond Head” (1975). Eno co-writes and sings. “Third Uncle” is from “801 Live” (1976). He is the vocalist and writer. Backing musicians are the usual suspects.

Enjoy!
-BBJ

(Before) Before And After

Or

Before Too

A fun fact I ran across:

Taking Tiger Mountain by Strategy (Chinese: 智取威虎山; pinyin: zhì qǔ wēihǔ shān) is a Chinese film from 1970, during the height of the Cultural Revolution. The film was directed by Xie Tieli and was based on a contemporary Beijing opera, one of the eight model plays allowed during the Cultural Revolution. The story is based on the novel Lin hai xue yuan (林海雪原) and tells the story of an incident in 1946, during the Chinese Civil War.
Taking Tiger Mountain by Strategy has been identified as one of the most watched films of all time. Official Chinese government statistics claimed a total audience of 7.3 billion through the end of 1974. The large audience can be attributed to the fact that few films were produced during the Cultural Revolution, and almost all earlier films were banned; nevertheless, the average village held ten film showings per year, and failure to attend could have been seen as a sign of political deviation. Hence, Chinese citizens would have been expected to see the film multiple times during the Cultural Revolution era.

Long, Long, Day

“It’ll be easy” I said to myself, “Just throw something together”, I lied. A good mix goes through several permutations. Getting everything to flow, so that it follows a thread, is always a challenge.

Who knew The Hudson Brothers were capable of producing such a slab of prime Pop/Rock, sounding as much like late-period Beatles as Badfinger? This was always the opener and really set the tone.(1974)
Legend was led by Mickey Jupp. The drummer left shortly after this (1971) to join T-REX, where he became known as Bill Legend. Fat bass-line reminds me of Macca.
“Lonely Blue Boy” (1958) is one of those songs everyone should hear. Vocal crick as art.
“The Power Of Your Love”(1969) from the sessions that produced “Suspicious Minds”. The last time Elvis was thouroughly engaged and at a creative peak in the studio. Long Live the King.
“In The Ghetto” was written by Mac Davis and recorded by Elvis in 1969. Given recent happenings in Chicago, it seems particularly relevent. This version by Nick Cave (1984) was when I realized he had a future after The Birthday Party.
“Sam” (1969) is a rare slice of midwestern psychedelia. Unreleased until 2013. It features the singing of Linda Bruner, who recorded 4 songs and vanished.
“Dripping With Looks” (1987) is a massive riff I never get tired of.
“Little Bit Of Magic” (1969) is very rare. Rosco originally recorded for SUN, in Memphis. His early singles featured a piano style which contributed to the formation SKA in Jamaica. Rosco left music during the ’60’s, moving to Queens to run a Dry Cleaners.
In 1969 he cut this single and released it on his own label. In the ’80’s he briefly returned to music, but stayed with his original SUN material. It’s too bad he didn’t make more music like this. What a voice! I imagine Bryan Ferry covering it back in the day.
It’s hard to believe “Electrify Me (1979) was considered punk rock when it came out. I hear a little RT in the guitar breaks.
If Nick Lowe and Rockpile never covered “Move It Baby” (1964) they should have.
The Shazam (2002) drop some classic Big Star style pop/rock. These guys deserve a bigger audience.
I love everything about “Pass You By” (1996).
“Wonderin'” (1983) is the only keeper on “Everbody’s Rockin”. It was written in 1970.
“WPLJ”-Frank genuinely loved Doo Wop and R&B. From “Burnt Weeny Sandwich”. I keep meaning to try it. Not the radio station.
Swamp Dogg, not Snoop Dogg. From “Total Destruction Of Your Mind” (1970).
“I Got It all Indeed” is the only song I know from “Theosophy”, Pete Molinari’s 2014 album.
“Life Is Good” is one of my favorite songs from my favorite Los Lobos album.
“Jimmy Was” is the title music from “Sling Blade” (1996).
I’ve always thought Pavement’s Stephen Malkmus’ voice sounded a little like Jerry Garcia’s, and the gorgeous pedal steel on this song really makes the case.
“Chicken” (2014) by Bill Patton brings things down to a gentle simmer while we get a little introspective.
“I Remember Cissy’s Baby and the noise on the block,
And seventeen policemen that were in a state of shock,
She had it on the pavement she had it on the ground,
out popped the baby with the cops all around,”

-(1970) Jake And The Family Jewels.
Some fine storytelling. It just goes from there.
“Gone Like the Water”(1996) by Freedy Johnston is beautifully rendered. Perfect.
John & Beverly Martyn made two albums. “John The Baptist” is from “Stormbringer”(1970). His early work is some of my very favorite music, but soon he went MOR and made some records I’d rather not think about.
This demo of “Seeing” is far superior to the version which turned up on “Moby Grape ’69”. Featuring Skip Spence’s original vocal.

Enjoy!
-BBJ

Long, Long, Day

A Saucerful Of Tears

Five guys, one bike.

Pink Floyd’s sophomore effort could very well be the worst of all time. Syd Barrett, their guiding light, and principal songwriter, became the goose that laid the golden eggs, and infamously flamed out, leaving them at the apex and in the middle of recording. I don’t think it was just acid, or insanity. I think forming a band was fun, but it suddenly becoming a vocation, and pop stardom stopped being so. He really wanted to be a painter, and he was a pretty good one from what I’ve seen.

Anyway the rest of the band found themselves in quite the pickle with an album begun and no songs. The title track can only be described as a composition, as it’s not a song or even music,really, except for the last section by Richard Wright, which I’ve used as a long intro to “See Saw”. My band, The Smoove Sailors write more interesting “jams” every week than the title tune.

I’ve been thinking about fixing A Saucerful Of Secrets for a long time. It was the unlistenable half of A Nice Pair, and just as bad as Ummagumma (The best part of which is the picture of all the gear on the back). A Saucerful of Tears is almost long enough to be a double album. Like if the White album lost “Revolution 9” and “Goodnight”, which I would never miss.

It’s the most democratic Floyd album as it features at least four songwriters and five singers.

I’ve compiled all the Syd Barrett songs recorded after their debut, Piper At The Gates Of Dawn, including the still unreleased “Vegetable Man”, and “Scream Thy Last Scream”, plus a couple singles with David Gilmour from the same period, but not on the album.

“Set The Controls For The Heart Of The Sun” is not my favorite, but is the only one involving all five members. “A Jolly Bunch of Pop Tunes” Syd might say.

I think it plays rather well, and because it’s all from the same period, could have been released this way. Enjoy!

Rehearsing for “The Wall”

 

A Saucerful Of Tears

Jamaican Holiday Extended

 
(Israelites)
 
(Sugar,Sugar)

Sometimes it takes two.




The “Scratch” side.


Because it’s hot as hell and one “Jamaican Holiday” isn’t enough.

Volume 2

Jimmy Plagiarist

 
Worth tracking downThis post began as a feature on the underrated, yet highly influential Davey Graham. I was blown away when I acquired his 1964 album Folk, Blues, & Beyond, and first heard his amazing rendition of “She Moved Through The Fair”.  I’ve been into the British Folkies since way before breakfast, and I’d heard of him, but never ran across any of his records.  I forget which of my favorite blogs first clued me in, but suddenly my whole understanding of the late ’60’s folk thing shifted.  The raga break in Fairport Convention’s “Nottamun Town” didn’t seem so brilliantly original.  That eastern flavor is Davey Graham’s contribution.  He developed the DADGAD tuning in order to play oud music on his guitar while travelling through Morocco. It’s also a sitar tuning.
Anyway “She Moved Through The Fair” sounded very familiar.  That’s because Jimmy Page, while a Yardbird, appropriated it, retitled it as “White Summer”, and has performed it as a showpiece and signature song without ever crediting Graham for the arrangement or the tuning making it possible.
I bought “Hammer Of The Gods” for $2 at a flea market in Woodstock last weekend, and according to it’s author, after touring Australia with the Yardbirds,
“Jimmy flew on to India, where he wanted to hear Carnatic Music.  He arrived alone, in Bombay on the Arabian Sea at three in the morning with a duffel bag over his shoulder, and spent days in the streets, listening to itinerant musicians.”
I don’t know about you, but that sounds a little like a fantasy.
Two pages later when describing “Little Games”, the subsequent , final, and only Yardbirds album featuring Jimmy Page he mentions one of the highlights being,
“”White Summer,” Jimmy’s Carnatic madrigal that was his solo showpiece in concert”
I figure since he’s a plagiarist he’s probably a liar, too.  I don’t know about his India story, but as long as he’s stealing a man’s music, why not some of his legend as well?
Here’s a little wikipedia on Davey Graham:
“Graham’s spontaneity made him unreliable and unpredictable, which did little to advance his fame or endear him to concert organisers and the more commercial elements of the music world. In the late 1960s he was booked for a tour of Australia but, when his plane stopped for an hour in Bombay, he changed his plans and spent the next six months wandering through India.”

Martin Carthy from the back of Folk, Blues, And Beyond
“Davy is one of the great originals on the folk scene; in fact I think he’s probably the great original. Davy’s discovery of DADGAD really was the great leap forward and his performance of “She Moved Through The Fair” in this tuning at the troubadour was mind blowing.”

Carnatic madrigal my arse.
Many of Led Zeppelin’s signature tunes are shameless rip-off’s of other artist’s ideas. All I can figure is that their manager, Peter Grant said something like, “They can go broke suing us.”

Jimmy bought this album in 1967

In a 1990 interview with Musician magazine, Jimmy Page quickly soured when questions veered into this territory. The Q and A exchange is quoted below.

Musician: I understand “Dazed & Confused” was originally a song by Jake Holmes. Is that true?

Page: [Sourly] I don’t know. I don’t know. [Inhaling] I don’t know about all that.

Musician: Do you remember the process of writing that song?

Page: Well, I did that with the Yardbirds originally… The Yardbirds were such a good band for a guitarist to play in that I came up with a lot of riffs and ideas out of that, and I employed quite a lot of those in the early Zeppelin stuff.

Musician: But Jake Holmes, a successful jingle writer in New York, claims on his 1967 record that he wrote the original song.

Page: Hmm. Well, I don’t know. I don’t know about that. I’d rather not get into it because I don’t know all the circumstances. What’s he got, The riff or whatever? Because Robert wrote some of the lyrics for that on the album. But he was only listening to… we extended it from the one that we were playing with the Yardbirds.

Musician: Did you bring it into the Yardbirds?

Page: No, I think we played it ’round a sort of melody line or something that Keith [Relf] had. So I don’t know. I haven’t heard Jake Holmes so I don’t know what it’s all about anyway. Usually my riffs are pretty damn original. [laughs] What can I say?

from wikipedia:

During a 1967 tour of the United States by English rock group The Yardbirds, Jake Holmes performed as the opener at the Village Theater in Greenwich Village on August 25, 1967. The Yardbirds were inspired by his performance and decided to work up their own arrangement. Their version featured long instrumental passages of bowed guitar courtesy of Jimmy Page, and dynamic instrumental flourishes. Page has stated that he obtained the idea of using a violin bow on his guitar from a violinist named David McCallum, Sr*., during his session days before joining the Yardbirds in 1966. At that time, it even had a little Eastern influence, as can be heard on some French television appearances. It quickly became a staple of The Yardbirds’ live performance during the last year of their act.
The song was never officially recorded by the band, although a live version recorded on 30 March 1968 is included on the album Live Yardbirds: Featuring Jimmy Page under the alternate title “I’m Confused”. Notably, it is the only track that has no songwriter credits on the release. Another live version of the song, recorded on the French TV series “Bouton Rouge” on 9 March 1968, was included on the CD Cumular Limit in 2000 and was credited “by Jake Holmes arr. Yardbirds.”

When the Yardbirds disbanded in 1968, Page planned to record the song yet again, this time with Led Zeppelin. According to Zeppelin bassist John Paul Jones, the first time he heard the song was at the band’s very first rehearsal session at Gerrard Street in London in 1968: “Jimmy played us the riffs at the first rehearsal and said, ‘This is a number I want us to do’.” Led Zeppelin recorded their version in October 1968 at Olympic Studios, London, and the song was included on their 1969 debut album Led Zeppelin.
The Led Zeppelin version was not credited to Holmes. Page used the title, penned a new set of lyrics, and changed enough of the melody to escape a plagiarism lawsuit from Holmes — the song’s arrangement, however, remained markedly similar to the version performed by The Yardbirds the previous year.While Holmes took no action at the time, he did later contact Page in regards to the matter. Page had not replied as of 2001. In June 2010 Holmes filed a lawsuit in United States District Court, alleging copyright infringement and naming Page as a co-defendant. The 2012 live album Celebration Day attributes the song to “Page; inspired by Jake Holmes”, although the writer’s credit with ASCAP remains unchanged.

Here is “Dazed And Confused” by Jake Holmes from his 1967 album, The Above Ground Sound of Jake Holmes. The Yardbirds saw Jake perform this and Jimmy Page bought the album at Bleeker Bob’s the next day.
 

*I believe the origin of the violin bow can be seen in this YouTube video of The Creation playing their excellent “Making Time” in 1966. (Eddie Phillips brings the bow out at 1:40)


“Hammer Of The Gods” repeatedly states Led Zeppelin’s affinity for the California sound (“Going To California”), especially San Francisco’s Spirit. Here is a brief instrumental by Randy California, from Spirit (1967)entitled “Taurus”. It’s quite lovely and the central theme is the basis for “Stairway To Heaven”.
 

Bert Jansch

“Black Mountain Side” from Led Zeppelin’s debut, and credited to Jimmy Page is really Bert Jansch’s arrangement of the traditional “Black Waterside” with a new title. Bert Jansch (11/03/43-10/05/11) was also influenced by Davy Graham, and like Martin Carthy, not adverse to giving credit. Here is “Black Waterside” from his 1966 album Jack Orion.
 
Led Zeppelin has been sued by and settled with bluesmen for several songs, “Whole Lotta Love”, for instance. I didn’t include them as the blues are slippery, the originals they copied were themselves built on other tunes. That’s blues. I didn’t mention that “Communication Breakdown” is a re-write of Eddie Cochran’s “Nervous Breakdown” because it isn’t as obvious. Most music is built out of other tunes. But you either render it unrecognizable, thus making it yours, or you give credit where credit is due.


Here are a couple Yardbirds tracks Jimmy would rather you didn’t hear:
“Knowing That I’m losing You” later turned up as “Tangerine” with Keith Relf’s uncredited lyrics intact.
 
The “original” “White Summer” from Little Games (1968)
 
“Usually my riffs are pretty damn original. [laughs] What can I say?”
Thanks to Willard for turning me onto “Taurus”. While the post was taking shape I ran across Will Shade’s fine article:
“THE THIEVING MAGPIES:
Jimmy Page’s Dubious Recording Legacy
Part 2

where I found a lot of information/inspiration.
She Moved Through The Fair
Dazed & Confused
Taurus
Black Waterside
Knowing That I’m Losing You
White Summer

Modern Lovers

 
 
 
 

The right wrong album

Besides “Some Bright Stars For Queens College”, one of the songs I most wanted to find in my cassette archives was “Roadrunner (Once)”*. I’m not sure when exactly during my sophomore year at SDSU I finally found a Jonathan Richman and the Modern Lovers album, I’d been reading Robert Hilburn’s ravings in the LA Times and been on the lookout for awhile, but of course I bought the wrong one.
The right one was the John Cale produced debut, The Modern Lovers(1976), which sounds like the Stooges and the Velvet Underground in a blender, sort of, is a certified protopunk classic, and contains some of his best known songs, including “Pablo Picasso”.
The one I bought was the second one, Jonathan Richman and The Modern Lovers(1976), which featured “Rockin Shopping Center”, “Abominable Snowman in the Market”, “Hey There Little Insect”, “Hi Dear” etc, which sounded nothing like the The Velvets or Stooges, and to my Beatles- Zeppelin-Floyd trained ears, bore little resemblance to Rock N Roll. Remember, I didn’t know what to make of Syd Barrett either.
My first instinct was to hate it, and since I lived in a dorm, peer pressure was strong. With my neighbors blasting Boston and Aerosmith, I felt really embarrassed playing it.
About the same time I noticed the Eno lyric on “Third Uncle”- “We saw the Lovers, The Modern Lovers and they looked very good they looked as if they could”, or something like that.
My freshman year was spent at Cal State Fullerton, where during lunch hour, bands would often play outdoors in the “quad” in front of “the Commons”.
I came to realize later that The Modern Lovers were one of them. They were pretty goofy, yet somehow charming, and I remembered them playing “Roadrunner”.
Like an idiot I got rid of almost all my records in 1990, including a half dozen Jonathan Richman albums.
I bought a Rhino “Best Of” cd as a replacement, but of course it was missing a lot of the best songs. Not included was the Beserkely Chartbuster’s version of “Roadrunner”, which is vastly superior to that on the debut, or “Rockin Shoppin Center”.
I had a really hard time tracking them down. Jonathan’s music goes in and out of print, and gets repackaged in different configurations. The version I was looking for is sometimes called “Roadrunner (once)”, and other times, “Roadrunner (twice)”.
I went so far as to order something on Amazon, but it never arrived.
I spent more time than I like to admit tracking these tunes down.
As great as the debut is, the “uncool” tracks found here are little closer to my heart.
Still, if you’ve never heard it, “Pablo Picasso” is a classic.
My favorite line:
“Pablo Picasso never got called an asshole, not like you”
Interesting that the original band included Jerry Harrison and David Robinson, who went on to play in The Talking Heads, and the Cars, respectively.

For more info, here’s wiki: http://en.wikipedia.org/wiki/The_Modern_Lovers

Roadrunner (twice?)
Rockin Shoppin Center
The New Teller

from The Modern Lovers

Pablo Picasso

*I never found “Roadrunner”, but a cassette did turn up “Rockin Shoppin Center”, however the mp3 I found, and posted here, sounded slightly better than the dub I made.

Number Fifty Two

The Playlist

A friend sent me a link to someone’s idea of the greatest rock guitar solos on record because “Baby’s On Fire”, one of my first posts, and a guitar solo I’d nominate for some kind of “best” list, was on it. I can’t remember what the other eleven tracks were, except I wasn’t familiar with most of them, or my response was, “What?!”. A brief email correspondence took place where I nominated a handful of solos that would be on my list, and got as far as promising it would be the theme for the next “Bullshit”. I started to jot down some ideas, a little disappointed that “Baby’s On Fire was already on Number Fifty when I realized I had no interest in compiling or listening to all that fretful wankery.
Also I’d collected the solo-less “Yummy, Yummy, Yummy” from Lux N Ivy’s Favorites and already earmarked it for Now That’s What I Call Bullshit 52.
All the Bullshits tend to follow the same pattern of eclecticism, so I lost the guitar solo theme. That said, a few of them made it onto the playlist. They are grouped together in a mini set consisting of “Old Pervert”, possibly my favorite Kimberly Rew solo from The Soft Boys Underwater Moonlight. Interesting because this version is not on the cd reissue, where it has been replaced by a vastly inferior rendition. This version is dubbed from a cassette copy I made in 1986 of the original vinyl release. Next up is “Lounge Lizard” from Ian Hunter’s first solo album featuring Mick Ronson on guitar. It’s really hard to narrow Mick down to a single solo, but I think this one stands out for all the right reasons. After that comes “Tit-Nan-Darag”, from Live, Love, Larf by French, Frith, Kaiser, and Thompson. Three out of four of those guys are well known for their guitar prowess. The other guy for the incredible drumming in Captain Beefheart’s Magic Band. I hear the album isn’t great, but this track smokes, and when Richard Thompson plays, I listen. It wasn’t destined for my list, but his solo on Fairport’s “Tale In Hard Time” is no laughing matter, either. It’s not a solo, but Blixa Bargeld’s guitar on “The Moon Is In The Gutter” is some of my favorite atmospheric noodling. Davy O’List plays some crazy shit on “The ‘In’ Crowd”, Mick Ronson shimmers tastefully on “Up To Me”, and the guitars on Acetone’s “No Need Swim” are as gorgeous as you-fill-in-the-blank.
Keef’s playing on “Honky Tonk Women” and Ron’s solo on “Twisting the Night Away” would have both made the cut, but I’ve heard them too many times, so here they are together on “Not Fade Away” from The Stones Stripped Deluxe, where no one in the band sounds like they plan on fading away any time soon. And then there’s Lou Reed on “You’re Driving Me Insane”, a song recorded by The Roughnecks shortly before forming The Velvet Underground, where he plays the practically same solo (if you can call it that) as “Run, Run, Run” from the “banana” album.
The Mekons always have good guitars, and are here because this song narrowly missed the cut on my post a few months back. One of the Mekons, Lu Edmonds, is currently playing guitar on tour with Public Image Ltd.
The Liquor Giants “I Don’t Mind” is a dead ringer for Big Star. Too bad it wasn’t covered by them on In Space.
Something by Chris Spedding would have found it’s way onto the guitar list, check out Roy Harper’s “The Game” on an earlier post, so I end the set with the Sharks hysterical “Kung Fu”, from Jab It In Yore Eye(1977). One of those albums that wouldn’t make it onto anyone’s all-time list, but for some reason I played to death way back when, largely due to Spedding’s incredible tone and economy coupled with Snip’s charismatic vocals.
There isn’t any guitar at all on Gene Krupa’s “Scandanavian Baby”, but it rocks nicely and comes from a history of Jazz record my parents bought at a supermarket when I was a toddler.
It’s really about the songs anyway.
Link in Comments.
Enjoy!

Big Star Got Kinda Lost



 

 
New $$$$ Box Set

New $$$$ Box Set

Not enough chairs?  Or too many?

Not enough chairs? Or too many?

Here is my mix of a demo found on the new Big Star Box Set. A different version of this song, “Got Kinda Lost” also appears on Chris Bell’s posthumous “I am The Cosmos”.

Big Star happened when Alex Chilton, singer of the Boxtops, joined Chris Bell’s band, Icewater.   The name, “Big Star” came from a local supermarket.  Bell departed after the release of “#1 Record” (1971) which was already largely written and recorded when Chilton joined. When they began work on #2, “Radio City”, Bell rejoined briefly and is said to have contributed, but not participated. I’m guessing this refers to “Got Kinda Lost”.

This song is on the bootleg of studio outtakes that’s been around, mine’s called “What’s Goin Ahn”, and it is the only song not on either album. The bootleg version is frustrating because all the instruments are in one channel and all the vocals in the other. Just selecting “mono” doesn’t really help. I tried to turn it into something like stereo, added a little something to the voices. I just checked the Box Set on Amazon and listened to the preview and it’s mixed a lot harsher than mine, heavily compressed with the vocals way out front. Maybe it’s better. A great song in an imperfect form.  At the end Alex askes,”How was that?”, after a pause, the reply, “It’ll do.”

I’ve included  Chris Bell’s version of “I Got Kinda Lost” which is probably also a demo.  His solo album, “I Am The Cosmos” (1992), was put together posthumously by his Brother, David, from whatever was left behind after his untimely death , in 1978.  Chris Bell’s life fell apart with the unsuccess of “#1 Record” and Alex Chilton’s takeover of the band.  It’s an album of staggering beauty, and an equally heartbreaking a document of missed opportunities and unfullfilled potential as Big Star.   (I’m not counting “Third” as I consider it an Alex Chilton solo album, more than a Big Star enterprise)

wiki says: Big Star is an American rock band formed in Memphis, Tennessee, in 1971 by Alex Chilton, Chris Bell, Jody Stephens and Andy Hummel. The group broke up in 1974, but reorganized with a new line-up nearly 20 years later and is active today. In its first era, the band’s musical style drew on the work of British Invasion groups including The Beatles and The Kinks, as well as The Byrds, The Beach Boys, and other U.S. acts. To the resulting power pop, Big Star added dark, nihilistic themes, and produced a style that foreshadowed the alternative rock of the 1980s and 1990s. Before it broke up, Big Star created a “seminal body of work that never stopped inspiring succeeding generations” in the words of Rolling Stone,[1] earning recognition decades later, according to Allmusic, as the “quintessential American power pop band” and “one of the most mythic and influential cult acts in all of rock & roll”.

Got Kinda Lost

I Got Kinda Lost

The Beatles Revolution Take 20

   

The legendary, unreleased “Revolution 1 (Take 20)” has surfaced. Mark Lewisohn tells us in The Beatles Recording Sessions  that this take (#18, revised to #20 after overdubs) was the first track recorded for The White Album, begun on May 30, 1968. Takes 1-17 were shorter, more conventional versions of the song, but #18/20 (the take edited and used on the album) went on for over 10 minutes, dissolving into chaos and inspiring the infamous “Revolution 9” – which used some of this track’s sounds, effects & voices (like Yoko Ono’s familiar “you become naked”).

Revolution Remix is mine.  Made out of all the opportunities created by “FULL DIMENSIONAL STEREO”

About 15 years ago I found “The Forger’s Art”, a book mostly about a famous case where an “artist” forged some “new” Vermeer’s and successfully sold them.  One ended up in a National Museum of Art somewhere.  He was tried and found guilty, but he was somewhat redeemed for fooling the Nazi’s, too. Besides reproductions of his really bad painting (it’s amazing they fooled anyone), there was reproduced “The Disintegration of Faith” by Jan Van Toorop.  The moment I saw it I spotted  The Beatles “Revolver” in it.  The more I looked, I became convinced there was a connection.

Where's John?

Where's John?

“Revolver” came out a few months after John Lennon was forced to publicly apologize for saying that The Beatles were “Bigger than God”.  I got to thinking that quoting “The Disintegration of Faith” was an inside joke between John, and Klaus Voorman, the artist responsible for the cover, and a friend of his since the Hamburg days.  Eventually I emailed Klaus directly and asked about it.  I lost his response, archived who knows where, which while not unfriendly, essentially denied there was a connection, but in a manner that could be interpreted a number of ways . I remember it started with, “High, Alan”.  So I wrote back, thanking him for answering, and with a promise not to continue harrassing him, but per chance he would enjoy seeing what I saw.  I attached what you see here, the area featuring the visual quote .  It’s really the drawn John with the hand over his head, near the middle, in the lower right quadrant.  I never heard from Klaus again.

Revolution Take 20
revolution_remix

I Am The Walrus

 

Something else you need to hear. A Beatles cover that equals the original.  So different it defies comparison.

This band was full of sidemen.  Luther Grosvenor was also Aerial Bender in Mott The Hoople (1974).  Chris Stainton was the musical director for Joe Cocker on “Mad Dogs and Englishmen”, Henry McCulloch was on something by Paul McCartney, Mike Kellie ended up in The Only Ones.  Alan Spenner is on a stray Roxy Music album as a session player.  I’m not sure what I should remember Mike Harrison for.  The song is from The Last Puff (1970).

Terrible album cover

Terrible album cover

I Am The Walrus

Band Members

    Band-members, Musicians and Performers

  • Mike Harrison
  • Luther Grosvenor
  • Henry McCulloch
  • Chris Stainton
  • Alan Spenner
  • Mike Kellie

Track Listing

The Songs/tracks on “The Last Puff” are

    Side One:

  • I am the Walrus
  • The Wrong Time
  • Something to Say
    Side Two:

  • Nobody There At All
  • Down River
  • Son of Your Father
  • The Last Puff