Garage Rock

Song Of The Day by Eric Berman – “State Trooper” by Bruce Springsteen

June 29, 2020 by Eric Berman

Song Of The Day by Eric Berman – “State Trooper” by Bruce Springsteen

The guttural howls that he lets out at the end of this psychobilly classic mixed with its pleading paranoid lyrics conjures the mood of pure dread…and with Bruce Springsteen’s sixth album, it was all about mood.

Hot on the heels of The River, his biggest album yet from 1980, and after several years on the road with The E Street Band touring to support it, Springsteen found himself back at home in Colts Neck, NJ with some restless free time on his hand and lots of bummer songs rattling around his brain.

A change of work habits was in the air as well. Rather than writing songs in the studio with the band waiting around as he had done up to this point resulting in albums taking years to complete, Springsteen called upon his engineer friend Mike Batlin to set up a primitive home studio so he could create demos of his new set of songs to be presented to the band in the studio. Springsteen worked fast at home and over a period of few days at the end of 1981, he captured fourteen new songs on his very basic Tascam 4-Track cassette recorder including early versions of songs that wouldn’t see the light of day for several years to come including “Born In The USA,” “Pink Cadillac” and “Working On The Highway” (then titled “Child Bride”).

Springsteen proceeded to carry the cassette of his stark new songs around with him for several weeks before making a copy and sending it to his manager, Jon Landau, who was blown away by not only the darkness and depth of the material, but the change of musical direction he heard.

Upon reconvening in the studio with the E Streeters to work up full band versions of the songs, it became evident that the band couldn’t capture the dark, desolate feeling that these songs needed. So a remixed version of the “demo” cassette that Springsteen recorded at home literally became his next record.

Once the bigwigs at Columbia Records got it in their head that they weren’t going to be releasing another blockbuster Springsteen record as the follow-up to The River, they devised a laid-back promotional campaign to suit the material. Springsteen fans were confused with the release of Nebraska in 1982, but the critics were rightfully blown away by its austere grandeur, hailing the record as one of his best…which it, indeed, still is.

Song Of The Day by Eric Berman – “Cat’s Squirrel” by Cream

June 26, 2020 by Eric Berman

Song Of The Day by Eric Berman – “Cat’s Squirrel” by Cream

“All right, all right, all right, all right, all right, all right…all right, all right, all right, all right.”

That pretty much sums up the lyrical content of this scorcher from Cream’s 1966 debut album, Fresh Cream. And for my money, the band’s studio recordings are far more preferable than their live workouts featuring endless jamming extended to maddening proportions.

While some were spray painting the buildings of England with proclamations that Eric Clapton was God, the real star of the show was bassist Jack Bruce. Not only was Bruce the songwriter behind some of the group’s biggest hits, but it was his voice that defined the group’s sound. And one would be hard-pressed not to mention Ginger Baker here as well for his undeniable contributions on drums.

And as for Clapton, he’s been literally coasting on the stellar guitar work he laid down with this group and solo since the late ’70s. Enjoy your retirement and thanks for the memories.

Song Of The Day by Eric Berman – “Fight The Power” by Public Enemy

June 24, 2020 by Eric Berman

Song Of The Day by Eric Berman – “Fight The Power” by Public Enemy

This track is ground zero in all of hip hop and perhaps the most in your face rap single of all time! While Public Enemy are no doubt the most influential rap group of all time, they were also the most innovative with their sampling and dynamic backing tracks provided by brothers Hank and Keith Shocklee, also known as The Bomb Squad.

The Shocklee brothers had their own mobile DJ business called Spectrum City DJs who also counted Professor Griff amongst its employees. Carlton Ridenhour, also known as Chuck D, was an aspiring graphic designer who offered to design some posters for the Spectrum City crew while he was a radio DJ at WBAU, the Adelphi College radio station. At one point, he also told them he could emcee, and along with another WBAU regular, Flavor Flav (William Drayton Jr.), and local DJ, Terminator X (Norman Rogers), Public Enemy was born.

Right from the start, PE’s sound was a mix of the serious brought out by Chuck D’s politically charged topical messages cooled off by the somewhat slacker presence of D’s amiable sidekick Flavor Flav, all supported by the hyper-charged backing tracks of The Bomb Squad.

It was through WBAU program director Bill Stephney that they came to the attention of producer Rick Rubin who signed them to his Def Jam record label and released their first album Yo! Bum Rush The Show in 1987. The group followed that record with the earth shattering It Takes A Nation Of Millions To Hold Us Back, which was the first rap album to top the Village Voice’s Pazz and Jop Poll in 1988.

This song comes from their no less essential third release Fear Of A Black Planet from 1990 and it later turned up as the centerpiece of the “Spike Lee joint” Do The Right Thing. Other singles on this album included “Welcome To The Terrordome” and “911 Is A Joke” in which, Flavor Flav and company take on the response times of 911 in black neighborhoods.

Song Of The Day by Eric Berman – “He’s My Baby” by Jean Shepard

June 21, 2020 by Eric Berman

Song Of The Day by Eric Berman – “He’s My Baby” by Jean Shepard

There was an interesting time during the late 1950s where straight Country and Western music melded with then-burgeoning Rock ‘n’ Roll and Rhythm ‘n’ Blues, giving birth to a new form of music called Rockabilly. Capitol records was a hotbed for Rockabilly recording crossover artists like Ferlin Husky, Faron Young, Wanda Jackson, Hank Thompson, Jerry Reed, Gene Vincent and Skeets McDonald.

Jean Shepard was a member of The Grand Ole Opry who scored her first #1 hit back in 1953 as a duet with Ferlin Husky called “A Dear John Letter” and followed it with the top 10 hit “A Satisfied Mind” a few years later. She went on to become a star of recorded music and TV variety shows during the 1950s and recorded this early Rockabilly gem in 1958.

She married Hawkshaw Hawkins in 1960 who would perish in the same plane crash that took Patsy Cline and Cowboy Copas and went on to have country chart hits throughout the 1960s and 1970s. She was inducted into the Country Music Hall Of Fame in 2011.

Song Of the Day by Eric Berman – Album Review: “The Cautionary Tales Of Mark Oliver Everett” by Eels

June 17, 2020 by Eric Berman

Song Of the Day by Eric Berman – Album Review: The Cautionary Tales Of Mark Oliver Everett by Eels

(Editor’s note: This review originally was published on April 29, 2014)

I love Eels. Mark Oliver Everett (aka “E” aka “Eels”) is a terrific songwriter with an interesting back story which has become the basis for subject matter on his finest albums including Hombre Lobo, Blinking Lights And Other Revelations, Daisies In The Galaxy, Electro-Shock Blues and Souljacker.

However, Everett has been making essentially the same record now for the last few years, and as a fan of the man and the band, most of the records have much to offer especially upon repeated spins. Yet this year’s model, The Cautionary Tales Of Mark Oliver Everett is a ballad-laden entity, totally bereft of the gnarly rockers that many have come to love Eels for.

Eels have been very prolific over the last few years and what initially seemed like a boom for fans several years ago when they released three records in the span of 12 months has now begun to weigh heavily on the quality of their output which is getting a little tiresome. The suite of three albums from 2011-12 focused on three different aspects of Everett’s life: lust (Hombre Lobo), middle age (End Times) and optimism (Tomorrow Morning). Unfortunately, on Cautionary Tales, we get to reexamine the very same relationship territory in a musically much less interesting manner.

Don’t get me wrong, E is always good for a few classic Eels songs per record, and this one is no different with tracks like “Parallels,” “Where I’m From,” “Answers,” “Series Of Misunderstandings” and “Mistakes Of My Youth,” all early contenders for a coveted place high within the Eels canon. But there’s a sameness to the new Eels material that’s hard to shake making it also very hard to get through. (C’mon E! Eels records shouldn’t be and never were a chore to listen to!)

Gone are the hummable melodies, ecstatic outbursts of pure abandon and wiggy instrumentation that has traditionally made most of Eels output a joy to listen to. In its place is a collection of mostly acoustic based songs that don’t change that dynamically from one to the other. Add to that, E’s growl of a voice has gotten rougher and less emotional which also weighs down this collection of stylistically very heavy and downtrodden songs.

The album is framed by three tracks, the superfluous opening instrumental “Where I’m At,” “Where I’m From” in the center of the record, and “Where I’m Going” at the end, however the feeling one gets from listening to the whole record is “I’ve been here before and I’m still in the same place.”

Adding to the album’s thirteen track tune stack is an additional seven new tracks (plus six live songs from their Wonderful Glorious tour) on the bonus addition. That’s twenty new songs adding up to some serious (and I mean very serious) material to sift through.

The Cautionary Tales Of Mark Oliver Everett is the opposite of Eels last wonderful and glorious outing Wonderful Glorious. It would be great if the upcoming Eels tour featured a solo acoustic segment where many of the new songs would benefit from an intimate presentation, however as the latest chapter in the Eels story, you should proceed with caution with Cautionary Tales.

FULL ALBUM:

Song Of The Day – “Just Dropped In” by Tom Jones

June 10, 2020 by Eric Berman

Tom Jones just released his 40th album this week called Spirit In The Room. It was released last May in England and has finally gained a release stateside. It is also the second “mortality” album he’s released in a row.

The “mortality album” occurs when a rapidly aging heritage artist is matched with a hip (younger) producer, who in this case is Ethan Johns. (Johns was also at the helm for his last “mortality album” Praise And Blame.) The producer acts as a mentor to the artist and curates the record by choosing the songs that not only will give the artist credibility with the young in-tune hipsters, but will also connect with the original fan base who are also getting older and can totally relate to, you guessed it, a “mortality” album.

Johnny Cash practically invented the genre with the series of late career American Recordings records he made with producer/Svengali Rick Rubin. With each release, his voice became weaker and weaker, while he just became cooler and cooler. Glen Campbell has released several “mortality” records also under the tutelage of producers Julian Raymond and Howard Willing. Both records have given him the kind of credibility he can happily retire on. In the case of Tom Jones, he still has all of his faculties, and still has one of the most thrilling and powerful voices ever.

Crucially, a “mortality” album must have a list of songs by “hipster approved” songwriters like Leonard Cohen, whose “Tower Of Song” kicks off this album, Tom Waits who provides the title track from his latest album “Bad As Me,” Bob Dylan’s Modern Times track “When The Deal Goes Down” (which is arranged here like a Tom Waits recording), the Richard and Linda Thompson classic “Dimming Of The Day,” Paul McCartney’s “(I Want To) Come Home” which he wrote for the 2009 film Everybody’s Fine and Today’s Song Of The Day “Just Dropped In.”

“Just Dropped In” is also known as “Just Dropped In (To See What Condition My Condition Is In).” It was written by the late, great Mickey Newbury and it put Kenny Rogers on the map by providing his band The First Edition with their biggest hit in the late 1960s. It is also, by far the standout track on this album. Jones makes this classic his own, in spite of Ethan Johns doing his best Mark Ribot imitation on the guitar on an arrangement that sounds like it’s fallen off of a Tom Waits album.

I don’t think the whole “mortality” route is the way to go for Tom Jones. It’s too austere, and he’s much too vital to be giving us an end of career/end of life album. I also don’t think it’s going to get him the late career renaissance he’s probably looking for either. But if you are a fan of Tom Jones, there are several highlights to be found on Spirit In The Room, like today’s Song Of The Day “Just Dropped In,” the Blind Willie Johnson classic “Soul Of A Man” and the self-penned Traveling Shoes, with only a few real clinkers in the bunch. And, most importantly, they are all sung with passion and soul to burn.

Song of the Day – “Circle Sky” by The Monkees

June 4, 2020 by Eric Berman

Song of the Day by Eric Berman – “Circle Sky” by The Monkees

Right from the beginning, it was always intended that The Monkees would make the jump from the small screen to the big screen. However, by 1968 when the group made their debut film Head, The Monkees’ TV show had been cancelled and they were in dire need of some credibility in the music world.

Enter film maker Bob Rafelson and an up-and-coming actor named Jack Nicholson who wrote and directed a film that made Frank Zappa’s 200 Motels look positively coherent in comparison. Head is a psychedelic mess in the first degree…but an interesting one interspersing drug-induced visuals with graphic scenes of war…and, of course, The Monkees.

The Head album had some fine songs on it sprinkled with sound collages that made it an uneven listening experience. Today’s Song of the Day by Eric Berman is one of Mike Nesmith’s finest songs which also served as the centerpiece performance of the film.

The Head album was expertly expanded into a 3 CD box set by Andrew Sandoval and Rhino Handmade several years ago…it’s not for the casual fan for sure…but if you are a Monkees obsessive it’s well worth the price of admission.

Song of the Day – “The Mercy Seat” by Johnny Cash

June 3, 2020 by Eric Berman

Song of the Day by Eric Berman – “The Mercy Seat” by Johnny Cash

By the year 2000 and the third album in the American series, Johnny Cash had reestablished himself as one of the greatest singers, not just in country music, but in all music. Producer, Rick Rubin, began working with him several years before and allowed Johnny Cash do what he did best in the studio…be JOHNNY CASH!

Cash began working with Rick Rubin in 1994. Rubin was the founder of Def Jam Records, and was responsible for producing seminal recordings by Public Enemy and The Beastie Boys. It must have taken quite a leap of faith for Johnny Cash to, not only work with Rick Rubin who was much younger than him, but to put his career in his hands.

When they first began working together, Cash’s career was pretty much over. He had recorded several ho-hum records for the Mercury label during the mid-to-late 1980s that were nothing special, and even resorted to re-recording some of his older hits for the label. I caught Cash in concert in a small New York City bar back in 1986 when he was touring behind the album Water from the Wells of Home. His career was so far off the mark, that the place was not even half full, although I must say that he was terrific. The performance was marred by his proclivity to allow his son and wife to take precious concert time away from the main attraction, in order for them to perform their own material.

Rubin’s whole modus operandi with Cash was to make bare guitar and voice recordings that would highlight what a great interpreter of material he was. In doing so, Rubin sent Cash tapes of songs he liked, exposing him to material he had never heard by the likes of Tom Petty, Beck, Soundgarden, U2 and Nick Cave, who wrote today’s Song of the Day by Eric Berman.

For American III: Solitary Man, Rubin assembled an all-star list of backing musicians including Norman Blake, Mike Campbell, Randy Scruggs and Marty Stuart on guitar, Tom Petty, Merle Haggard and Shreyl Crow on backing vocals and Bentmont Tench on organ. “The Mercy Seat” is probably Cash’s most harrowing recording, even more so than Nick Cave & The Bad Seeds’ original from their 1988 album Tender Prey.

Of the five American Recordings albums, not to mention the five CD Cash Unearthed box set with more Rubin/Cash collaborations, the American III: Solitary Man album is one of the most enjoyable on every level mainly because of its superb choice of cover songs by Tom Petty (“I Won’t Back Down”), Neil Diamond (“Solitary Man”) and U2 (“One”). Together, Cash and Rubin formulated a record that kept Johnny Cash not only relevant with the hip cognoscenti, but also true to himself as a recording artist.

And as for what Nick Cave thought about Cash’s cover, his pride oozes out of every word in the following quote… “It doesn’t matter what anyone says, Johnny Cash recorded my song.”

Song Of The Day – “Paradise Girls” by Deerhoof

June 2, 2020 by Eric Berman

Song Of The Day by Eric Berman – “Paradise Girls” by Deerhoof

Their Breakup Songs was the album that topped my Best Albums list of 2012, and now Deerhoof return with their new album La Isla Bonita. (out Nov. 4)

Emanating from San Francisco (Greg Saunier, Ed Rodriguez & John Dieterich) by way of Japan (Satomi Matsuzaki), Deerhoof have released 13 albums over 20 years of unpredictable music with a sound that would have made Yoko Ono proud and John Lennon jump for joy.

It has finally come to pass that the dance ingredients of Yoko Ono’s recordings circa Double Fantasy coupled with the crunchy noise of her earlier albums which were championed by John Lennon have somewhat reached the mainstream with Deerhoof and their brand new album La Isla Bonita.

The album consists of rough tracks that were recorded in Rodriguez’s basement with the intent to send them to their producer before going into the studio. Upon playing the tracks back, the band realized that they already had the album they wanted to make.

Greg Saunier: “No one gave much thought to microphone placement and other technical matters, or playing the parts perfectly, or even staying in tune. It was unselfconscious, spontaneous and fun, all four musicians playing in the same tiny room at the same time.”

Satomi Matsuzaki later added her simplistic, repetitive lyrics and baby-doll vocals on top of the tracks solidifying the Deerhoof sound that fans have come to love.

Part electro-crunch, part sing-song melodies, part twee vocals and completely infectious in the dance rhythm department, “Paradise Girls” is a prime example of this band’s unique and irresistible sound.

Song Of The Day – “The Uncle Meat Variations” by The Mothers Of Invention

May 28, 2020 by Eric Berman

Song Of The Day by Eric Berman – “The Uncle Meat Variations” by The Mothers Of Invention

Bach, Beethoven, Chopin, Dvorak…the alphabet of classical composers goes on and on…and then you come to “Z.”

May I offer “Zappa?” Yup, Frank Zappa…an artist whose music will be studied by serious composers for generations to come.

You don’t believe me? Then check out today’s Song of the Day by Eric Berman, “The Uncle Meat Variations” from Uncle Meat.

The Uncle Meat album was released in 1969 and was conceived as a soundtrack to a science fiction film that was never finished. The front cover sported the following subtitle: “Most of the music from the Mother’s movie of the same name which we haven’t got enough money to finish yet.”

A finished version of the film was released in the late 1980s bearing many of the scenes filmed for the movie and was rather incoherent. The double album was also planned as part of a suite of albums called No Commercial Potential that included the Mothers’ records Lumpy Gravy, We’re Only In It For The Money and Cruising with Reuben & the Jets.

Frank Zappa: “It’s all one album. All the material in the albums is organically related and if I had all the master tapes and I could take a razor blade and cut them apart and put it together again in a different order it still would make one piece of music you can listen to. Then I could take that razor blade and cut it apart and reassemble it a different way, and it still would make sense. I could do this twenty ways. The material is definitely related.” (Zappa: A Biography – Barry Miles)

The Mothers consisted of Frank Zappa, Ray Collins on vocals, Jimmy Carl Black on drums, Roy Estrada on bass, Don Preston on keyboards, Billy Mundi on drums, Bunk Gardner on woodwinds, Ian Underwood on keyboards, Artie Tripp on percussion and Euclid James “Motorhead” Sherwood on saxophone.

The album is one of The Mothers’ and Zappa’s finest, and I opine that it will be studied by serious musicians for years to come.

So, “Roll over Beethoven, tell Tchaikovsky the news.”

“Fuzzy dice and bongos”…indeed!