Monday, 4 June 2012
Dear all, what do you think of our new look site? So far we’ve had 46 visitors, including 10 from the US and one from Germany and hopefully our Google Ads should kick in any minute...now! Yes, there they go, twinkling away. For those of you still on our first ‘moonfruit’ site feel free to go and give it a look (at http://alansalbumarchives.blogspot.co.uk) and for those of you on our second ‘Blogspot’ site go and visit www.alansalbumarchives.moonfruit.com to see our graphics and Amazon ads! By the way we beat our record on Monday for the most hits within 24 hours on our ‘first’ site : an amazing 210! And we even followed that up three days later with another 180! (Before this our average was 30!) A special big ‘hello’ to all our new readers – and a big hug to all our old ones who are still returning after all these issues. I’ve noticed that we have a lot of readers in Russia on our new home at Blogspot and that our review of Otis Redding’s ‘Soul Ballads’ album is the most popular article. I wasn’t expecting that I have to say! Welcome one and all!
In other news, the Coalition has u-turned on the pasty tax and caravan tax and yet has revived their slavery laws (sorry workfare scheme) under a new name and on an even bigger scale. We’re also celebrating a pointless jubilee with lots of money that would do so much good in so many other places, have missiles ready to welcome our guests to the most embarrassing Olympics since Hitler’s and the division between rich and poor gets ever bigger. I’ve read books about our supposedly uncivilised barbarous past that shows more humanity and justice than that! Oh and in some other news an old biddy from Germany stood on a boat for five and a half hours waving at people. Apparently she’s from a family that used to be Royal but of course all democratic countries got rid of theirs a long time ago...wait? They’re still in power 400 years after executing Charles 1st? No way!
Talking of going back into the past, Neil’s been busy revisiting his past with another of his ‘archive’ releases. We don’t normally cover them on our site because till now they’ve been made up of previously released material – however we haven’t covered any of the songs on this ‘Treasure’ album yet and there’s oodles of officially unreleased tracks for fans to enjoy. We’re also celebrating the life and works of the much missed Robin Gibb with a look back at his greatest moments with The Bee Gees and the seven moments where AAA members were directly inspired by disco and ‘Saturday Night Fever’. Till next issue, enjoy!
♫ Beatles News: The George Harrison outtakes CD ‘Early Takes Volume One’, available with some deluxe editions of the ‘Living In The Material World’ DVD is now available separately. The set features early versions of several Harrison solo songs, mainly in demo acoustic guitar form and before the overdubs are added. There are only 10 songs alas (six of them from AAA classic album ‘All Things Must Pass’) but a second set has been mooted by George’s widow Olivia Harrison (who says there’s enough good quality material for a whole series of outtakes sets in the works).
♫ Pink Floyd News: What a curious documentary BBC4’s ‘Wish You Were Here’ was. Focussing on the album of the same name (weirdly reviewed by us the week before despite the fact the set came out last August!), it was half the usual tired story (Syd’s decline, the success of ‘Dark Side’ and the apathy of the later Floyd years) and part riveting stuff (Syd’s last recordings – sadly only about 10 seconds’ worth, the ‘mixing desk’ bits where vocal and instrumental tracks are isolated, the video screens shown to certain songs on stage in the 1975 tour). Shockingly it took a whole half hour before Rick Wright – who died in 2006 – to even get a mention despite being a key part of the album’s success and Gilmour was on particularly grumpy form (yes, even more than Roger Waters!) Worth looking for for Floyd fanatics (it was on BBC4 on Friday, May 25th and still available on I-player for a bit), it’ll probably leave newcomers scratching their heads.
♫ Rolling Stones: Back in 1984 a new Stones book was mooted by acclaimed rock journalist Stanley Booth, who’d travelled with the band on most tours since 1969. Alas the book never surfaced – until now, when ‘The True Adventures Of The Rolling Stones’ is finally being released and claimed by Mojo, at least, to be a five star classic. It certainly sounds different to the usual Stones tome, being ‘part new journalism hip-thrust, part medieval mystery play’ with the usual tales of Brian Jones’ death, for instance, being viewed as a ‘necessary sacrifice’ to the Stones cult. More news if and when...
♫ Who News: There was another shock TOTp2 clip lurking in between the usual mixture of boyband naffness and dated 80s disco pop, a clip of the ‘orrible ‘oo performing ‘You Better You Bet’ from the very end of their career in 1981. The clip featured Roger Daltrey singing live while the rest mimed from what I could tell and to the best of my knowledge the video hasn’t been seen since first broadcast. After last week’s Hollies clip they’re really finding some gems lurking at the back of the TOTP cupboard! If you want to see The Who then look on I-player for last Tuesday, May 29th’s episode, screened on BBC2 at 6.30pm.
♫ Neil Young News: ‘Americana’, the new album by Neil and Crazy Horse of American standards and traditional songs, is now out in record quick time even for Neil – the project was only conceived around February. I haven’t heard it yet (expect a full review when I do) but at first glance it doesn’t look very promising. Remember the film soundtrack Neil did in the 80s for ‘Where The Buffalo Roam’ that consists of lots and lots (and lots!) of versions of ‘Home On The Range’? This sounds similar, only with ‘Clementine’ ‘Oh! Susannah’ (it will be interesting to see how his version compares to The Byrds) and, erm, ‘God Save The Queen’ (what’s American about that?)
ANNIVERSARIES: Happy birthday to you, happy birthday to you, happy birthday dear AAA members born between June 6th and 12th (Clarence White (guitarist with The Byrds 1969-72) who would have been 68 on June 7th, Billy Kreutzmann (drummer with The Grateful Dead 1965-95) who turns 66 on June 7th), happy birthday to you. Anniversaries of events include: The Silver Beatles and The Pacemakers, the two leading groups in Liverpool along with The Searchers, share their first gig together at the Grosvenor Ballroom (June 6th 1960); The Beatles have their first session at Abbey Road Studios – band, manager and critics still disagree other whether this second meeting between the fab four and George Martin is a recording date or an audition (June 6th 1962); John and Yoko team up with Frank Zappa for a gig at the Fillmore East, later released by both partnerships under separate names (June 6th 1971); The Rolling Stones release their debut single ‘C’mon’ and make their first British TV appearance on Thank Your Lucky Stars on the same day (June 7th 1963); John and Yoko appear on David Frost’s TV show (June 7th 1969); Brian Jones officially leaves The Rolling Stones less than a month before his death (June 8th 1969); Oz Magazine release their ‘school kids’ magazine and get charged under obscenity laws – John Lennon is among celebrities who help out with the fine (June 8th 1969); The Beatles’ legend reaches a new level when the band play their first post-Hamburg gig in Liverpool – just weeks before the band looked finished with three of the four members deported from Germany (and amazingly John Lennon is the one who stayed legal!; June 9th 1962); The Rolling Stones visit Chess Records where many of their favourite blues records were made – they add to the long list of hits with ‘It’s All Over Now’ (recorded June 10th 1964); The Beatles release a single and an LP with the same name – A Hard Day’s Night – and both make #1 (June 10th 1964), Janis Joplin plays her first gig with Big Brother and the Holding Company (June 10th 1966), The Rolling Stones, taking a break from recording ‘Beggars Banquet’ at London’s Olympic Studios, return to find the building on fire, nearly losing all their hard-earned work to the flames! (June 11th 1968) and The Beatles receive their MBEs from the Queen at her ‘keen pad’ Buckingham Palace (June 12th 1965).
“Every morning got sun to shine, every day got plenty of time, every night there’s a moon so fine, there for you my Amber Jean” “Still some corn that ought to be tossed, still some lines that ought to be crossed, still some love that hasn’t been lost, there for you my Amber Jean” “Are you ready for the country? Because it’s time to go!” “The saddest words of tongue or pen are these four words ‘It Might Have Been’ “He had a new way of living, new way of looking at life, he had an A4 international and two kids he left back home with his wife” “In the days of covered wagons a man had his own way, whether talking to a woman or crossing the USA, no telephones were ringing no angry words exchanged, I wish I were back in the saddle now riding across the range” “I’m listed under ‘broken heart, looking for good times’” “Is my world not falling down? I’m in pieces on the ground and my eyes aren’t open and I’m standing on my knees, but if crying and holding on and flying on the ground is wrong, then I’m sorry to let you down but you’re from my side of town and I’ll miss you” “Sometimes I feel like I’m just a helpless child, sometimes I feel like a king, but baby since I have changed I can’t take nothing more” “When I was a younger man, got lucky with a rock ‘n’ roll band, struck gold in Hollywood, all the time I knew I would get back to the country, back where it all began” “Roll on Southern Pacific, on your silver rail, in the moonlight” “I rode the highball, I fired the daylight, but when I turned 65 I couldn’t see right, so it was ‘Mr Jones we gotta let you go’, that’s company policy, you’re gonna get a pension though” “Nothing is perfect in God’s perfect plan, look in the shadows to see, he only gave us the good things so we’d understand what life without them would be” “The night was cold and the wind was howling, I was awakened by the sound of hoofbeats pounding” “Up on a hill they rode in one long column, they were freezing in the chill of that new day dawning, their hair long and gray they had just one voice calling” “The sun made diamonds of their road-weary eyes”
Neil Young and the International Harvesters “A Treasure” (2011)
Amber Jean/Are You Ready For The Country?/It Might Have Been/Bound For Glory/Let Your Fingers Do The Walking/Flying On The Ground Is Wrong/Motor City/Soul Of A Woman/Get Back To The Country/Southern Pacific/Nothing Is Perfect/Grey Riders
Neil Young famously told us in 1985 that ‘old ways can be a ball and chain’ and yet that’s exactly what he did with ‘Old Ways’, one of his least successful albums in the eyes of most fans where the traditional country styles sounded hokey and forced. For years now we ‘Geffen Geeks’ have wondered what the records from Neil’s ‘lost’ phase might have sounded like if they weren’t so, well, lost: there aren’t many of us who’d claim Neil’s troubled time in the 80s (when Geffen actually sued Neil for ‘not making albums that sounded like Neil Young’, despite the fact that the ‘real’ Neil Young is split into many hundreds of different people) to be his best work, but there’s a real depth and poignancy there that’s missing from some of his better known 60s, 70s and 90s recordings. I’ve been patiently waiting for Neil’s ‘Archive’ series of releases to finally get round to this era, because hearing these troubled songs in a new setting away from the restrictions of the time and genre really allows these songs to breathe on bootleg. And now, after some pretty lifeless acoustic shows from 1968 and 1972 and an electric Crazy Horse from 1969 on a bad night comes the first truly revealing album in the series, featuring no less than seven previously unavailable songs. It’s like hearing what ‘Old Ways’ should have sounded like, before the long troubled background of that record (which we’ll be delving into later) got in the way and this alternate glimpse into a decidedly more rock and roll oriented country sound is so superior to the finished product you wonder why on earth the album turned out as badly as it did. But then Neil Young is famous for leaving some of his best songs (and even some of his best finished albums) lying by the side of the road in his desperate haste to race towards the next destination his muse takes him. It’s fantastic that with releases like ‘A Treasure’ we get a glimpse of how great these albums should have been.
We owe this album’s existence to Ben Keith, Neil Young’s longest-term sideman and colleague who played pedal-steel guitar in every Neil Young band except Crazy Horse, from the earliest ‘Harvest’ era to the ‘International Pineapple Trans Band’ and ‘The Shocking Pinks’ (he’s also ‘Grandpa’ in the film version of ‘Greendale’ – the Neil Young film, obviously, not the Postman Pat movie in the works!) Keith, who died in 2010, helped out a lot with the ‘archives’ projects and picked out this album from Neil’s huge array of tape boxes and mixes over the years, telling the guitarist that these tapes from on tour in later 84 and early 85 were ‘a treasure’. And a treasure they are for any Young fan whose ever read the rave reviews of the International Harvesters on tour or whose read the long list of unissued tracks, wondering what they must sound like: ‘Amber Jean’ ‘Grey Riders’ ‘It Might Have Been’ ‘Let Your Fingers Do The Walking’ ‘Soul Of A Woman’ and ‘Nothing Is Perfect’. All of them are unreleased on record, although Neil can be seen singing the last song at Live Aid (typical Neil – everyone else uses the occasion to plug wither their new work or their back catalogue, CSN included, but Neil’s writing a song none of the public will get to hear again for another 26 years). How strange that Neil should have passed so many songs of quality by – no, not on the albums, we fans are used to that (there are whole albums from the 70s that never came out!) – but just think how enticing Geffen compilation ‘Lucky 13’ might have sounded with some of these songs attached to it! Not that every track here is great – not all the unissued tracks live up to their reputation after so many years of speculation and the six remaining songs on the album are a completely random throw of the dice around Neil’s then-recent past rather than fan favourites, but we haven’t had this many ‘new’ things to get excited about since the ‘Archives’ box set – and this single CD is around £100-£150 cheaper.
Of course these songs were always intended for release originally, back in the days when Neil was so annoyed at Geffen’s rejection of his original ‘Old Ways’ record that he vowed to make nothing but country records from now on ‘so that they can’t sue me for making records that are unrepresentative – because from now on this is all I’ll be known for!” This was a particularly brave statement to make seeing that South American country radio stations still had Young on a black-list at the time (for ‘Southern Man’) but then country hasd always been an influence on Neil’s work, from his records with Buffalo Springfield and CSNY to Harvest. Still, ‘Ols Ways’ had gone further into the genre than ever before, further than most country singers dared to do in fact, with its pedal steels, fiddles, jews harps and duets with country legends. It certainly went too far for me. But ‘A Treasure’ suggests that whatever came next would have been a lot more special and a lot less generic. The maudlin but evocative ‘Depression Blues’ and a first version of CSNY’s bleak austerity song ‘This Ole’ House’ would most likely have ended up on a second ‘Old Ways’ album, along with a handful of rejects from the first Old Ways album and the six offcuts here. Taken as a whole, you have to say this album would have been by far and away the better of the two (even with some truly awful songs as per all the Geffen albums) and to some extent exonerates Neil’s sudden conversion to all things traditional and country, as this ‘second batch’ of songs suits Neil much better (at the time, of course, Neil vowed he would only make ‘country’ records into his old age – although in the end country turned out to be just one more of the many styles Neil used in the 80s). Ironically, for all Neil’s tales that country music was ‘honest’ and ‘built for the long term’, the finished ‘Old Ways’ album is probably the most un-Neil Young like record ever made, full of hokey songs about always loving the country and protecting the humble farmer (Neil’s background being in an industrialised part of Winnipeg, Canada!) This second, unfinished album, by contrast, finds Neil more at home with himself and with his genre, less suffocated Of course all that might have changed in the studio (even the ‘Old Ways’ songs sound better here live), but there’s more of a direction here and the songs about family and religion sound more believable and far less patronising than before. On ‘Grey Riders’ Neil even sounds edgy and dangerous again, something he hadn’t sounded like since 1982’s ‘Trans’ (and even then it passed most people by), making the Neil Young of 1985 a much more likeable, interesting figure than the one in 1984.
Indeed, I’ve been scratching my head over what on earth happened to Neil Young during the time of the first album. Whilst Neil’s allegiance to the hippie ethos of peace love and flowers was always fluctuating at best (he may have written the world’s most damning Richard Nixon song ‘Ohio’, but he wrote the most sympathetic Nixon song – ‘Campaigner’ – too), the Neil of this period is downright scary. Only 15 years after damning Republican president Nixon to high heaven – and just 20 years before damning Republican president Bush junior with ‘Let’s Impeach The President’ - Neil spoke out in favour of Ronald Reagan, claiming that nuclear missiles were good things for America to have (precisely because other countries were too scared too challenge the USA’s might), that America should keep itself to itself and not lift a finger to help ‘lesser’ countries and most shockingly that all welfare supports should be stripped out of 1980s America. One rock critic, Dave Marsh, even wrote an impassioned article about how ‘Neil Young killed my dad’ (because he was forced to work without a disability pension and died at the age of 57). Worst of all, Neil even went off on a homophobic rant about the homosexuals who ‘work at my local shop and handle my potatoes’ which just so isn’t the tolerant, freedom-pursuing character we’ve come to know and love down the years. In short, Neil Young was never as unhip or as un-liked as he was in 1985 and he actively seemed to be distancing himself from the young thriving music scenes of the day, usually seen hanging out with even older timers like Willie Nelson and Waylon Jennings in stark contrast to the late 70s (when Neil was virtually the only artist from the 60s to approve of punk from the start) and the 1990s (when grunge and Neil’s Nirvana links meant he was ‘cool’ again), having convinced himself that only country, the ‘oldest’ genre’, has a future for him now. If old ways are a ball and chain then Neil Young was shackled in 1985 and how.
There are excuses of course. It’s easy for us to look back from the post-Berlin Wall world and say ‘aggressive arms are a stupid way to go’ knowing full well the situation will take care of itself. Neil may also have been naive, ascribing more American values to the red white and blue than the majority of real born-and-bred Americans (not uncommon in Canadians who later live across the border). Or he may have just been in a foul mood that day. We’ve covered before on this site, in review no 84 (‘Trans’) and news and views no 56 (‘Life’) how badly Neil was hit by the birth of his son Ben, born with cerebral palsy and the intense 24 hour hands-on approach both he and wife Pegi were forced to undertake for the first few years of his life, with all the pressure, dedication and guilt that entailed and speaking sensibly to a media representative looking for a quote is almost definitely the last thing a tired and confused Neil wanted to do. Seeing his young song struggle with no help whatsoever may have been the deciding factor in that uncharacteristic whinge against welfare (which, like so many media images, is manipulated – fraud counts for just 0.0005% of cases you know). The whole Geffen law suit thing didn’t help either, with Neil a much more troubled and angry soul than he had been in his more mellow 70s phase. The first version of ‘Old Ways’, an album never heard bar two tracks that made it to the second version, had turned sour in the time it took a Geffen official – Eddie Rosenblatt – to call it ‘too country’ (it couldn’t possibly have been as country as the second version. Or so we hope anyway lest it come out some day). Or it may have been that the infamously chameleonlike singer was simply hanging out with the wrong people. Waylon Jennings and Willie Nelson are as country as it gets, big stars who were fading and desperately needed the publicity of someone like Neil on their side and Neil’s attempts to sound like them on the duets on ‘Old Ways’ are amongst the biggest mistakes of his career, the complete opposite of what honest to goodness country is really about: honesty. With his name mates out of the picture, Geffen off his back (Neil re-worked his contract by asking for less money and the freedom to do what he wanted – surely the only time a recording artist has ever asked their company for a reduction in salary!) and ‘Old Ways’ finally released in some form (if not entirely to everyone’s liking) ‘A Treasure’ is a much better second attempt at making an all-out country album precisely because Neil isn’t trying to sound like anyone else but him.
It also fits the ‘get back to the country’ theme of Old Ways rather better. Neil was obsessed with going back to his roots in this period, just at the point when every other musician was busy discarding their roots and trying to go all modern and technological. Neil did that too on ‘Trans’, of course, but it speaks volumes to me that an album based on Neil’s rockabilly roots should be followed by an album based around his country roots (including many cover versions of songs he heard in his childhood) and then a another noisy generic rock album that’s kind of his teenage years in a way. By mixing up songs from Neil’s early history (‘Flying On The Ground Is Wrong’) and songs about his new born family (‘Amber Jean’) with ‘Get Back To The Country’ ( a sort of ‘Get Back’ played with jews harps and fiddles) Neil disagrees with his statement that ‘old ways can be a ball and chain’ – and comes up with what would have been a more interesting and innovative record all round.
Like many of Neil’s 1980s albums these songs that sounded so lifeless and self-aware on record sound confident and brittle when heard live. A lot of that is down to the band: ‘The International Harvesters’ was a name first given to the ‘Harvest’ band and many of them return for this live set, with semi-big names from the country world like Spooner Oldham and old friends like Ben Keith, singer Anthony Crawford and bassist Tim Drummond on hand to help the songs along. Best of all, true country players Hargus Robbins and Joe Allen add their great authentic sound to proceedings and yet sound far more comfortable on these rock-country hybrids than Willie or Waylon ever did (in true country mode, they couldn’t sound like anyone but themselves). By trying to tell the story of country less and the story of Neil Young more ‘A Treasure’ sounds like a much better bet all round and a clear signpost towards the end of Neil’s ‘covering up’ phase (that lasts from 1980s ‘Hawks and Doves’ right up to 1988’s ‘Freedom/Eldorado’) where he created arguably his most honest songs after a decade of hiding away from himself. As it happens this album never came out because of a curious incident in mid 1985 when, after vowing never to play rock music again, Neil went to sleep watching a rock film on TV (some sources say its The Who biopic ‘The Kids Are Alright’) and woke up with a pounding angry rock riff in his head, awaking his interest in all things loud once more. Ironically the follow-up LP ‘Landing On Water’ is even worse than ‘Old Ways’ and further proof that Neil Young was hiding away from writing about his experiences and views in music (the heartbreakingly cynical ‘Hippie Dream’ aside), so it’s even more of a shame that such a cracking bunch of unfinished songs should get cast aside for such drudgery.
Not that every song here works well. ‘Are You Ready For The Country?’ is perhaps the most forgettable song from one of Neil’s most forgettable albums ‘Harvest’ (yes its Neil’s best-selling, but very few fans think its one of Neil’s best works). ‘Let Your Fingers’ and ‘Soul Of A Woman’ are a little bit patronising, in the same vein as the horrid ‘Bite The Bullet’ from ‘American Stars ‘n’ Bars’ and need a lot of work before they’d take fire in a recording studio. ‘Motor City’ is a disgracefully immigration-heavy rant about Japanese cars on sale in the USA (and changed from Germany as per the original; neatly forgetting the fact that American cars sell well in Japan and Germany too) that’s easily the worst song from the not-that-hot ‘Re-Ac-Tor’. Finally ‘Nothing Is Perfect’ lives up to its name all too well, a hokey country ballad that’s the closest in style to ‘Old Ways’ here (though still better than a good half of that awful album). There’s also nothing here up to the standard of ‘Misfits’, the one true gem from ‘Old Ways’ that at least dared to be different (a little too different, given that this is a song about Muhammad Ali in a space station we’re talking about here).
But equally ‘Grey Riders’ knocks the socks of anything on all the ‘Geffen’ albums bar Trans, a gloriously smoky scary song with an open structure that could have seen it become another ‘Cortez’ or ‘Hurricane’ had fans got to hear it as many times in concert as those stalwarts. ‘Flying On The Ground Is Wrong’ is a glorious surprise, after so many years hidden away as a song on the first Buffalo Springfield album and heard here with the author ‘properly’ re-instated on vocals (Neil’s unusual voice was considered too ‘un-commercial’ by the powers that be of the day, who gave the song to Richie Furay to sing). ‘Bound For Glory’ and ‘Get Back To The Country’, two songs from ‘Old Ways’ that sounded tired, hackneyed and pointless on record now have a bit of life about them, with Neil’s vocals sparkling and obviously him instead of the bad country impressions that made it to the record. ‘Amber Jean’ is a sweet little song dedicated to Neil’s daughter (two years old at the time of this version), whose birth was a tough time for dad and mum after two boys born with differing strengths of cerebral palsy (she’s been perfectly healthy all her life and is now quite an ecological activist, being painted by her dad as the character ‘Sun Green’ in the curious 2007 concept album ‘Greendale’). Best of all ‘Southern Pacific’, a rollicking train song rather thrown away on ‘Re-Ac-Tor’, sounds magnificent here with the band doing a mighty good impersonation of a diesel engine (Neil is, of course, a huge train fanatic and has a barn full of models – many of which he helped design during his association with the model company Lionel, including many adaptations designed especially for disabled children to use). That’s a ratio of five to seven good songs to bad: higher than most Neil Young albums and impressive for an unreleased set.
Until Neil finally releases his acoustic shows from 1989, his unfinished ‘Chrome Dreams’ album from 1977, his unfinished ‘Island In The Sun’ from 1982 or any of his shows with Otis Redding’s band Booker T and the MGs (1993), ‘A Treasure’ remains the highlight of the Neil Young archive series. It’s also infinitely better than the album s recorded either side of it (‘Old Ways’ and ‘Landing On Water’), although sadly tells us more about Neil’s fall from grace in the mid 80s than it does about this album. Still, if you’ve been burnt by those two albums as much as I have then this album is a wonderful surprise and after a fairly nondescript start to the ‘Archives’ series really is a treasure!
The album starts with ‘Amber Jean’, Neil’s song of love for his new born daughter (who turns 30 next year I believe!) On first listening things aren’t too promising: Neil starts the song with a hokey ‘this one’s for you, honey’ and the backing is so Nashville with its pedal steel guitar washes and double fiddle attack you half expect this song to be another Willie Nelson duet. However the song itself is lovely, sporting a wonderfully yearning melody and some typically prescient Neil Young homespun philosophy in its lyrics: ‘still some corns that might get tossed, still some lines that ought to be crossed, still some love that hasn’t been lost, there for you my Amber Jean’. When you understand the difficulties Neil and family faced in the 80s and the illness and therapy programmes they had to work through those lines say a great deal, about Neil’s determination to get back in charge of his music and indeed his muse, going back to push back boundaries instead of coasting and the fact that he can still love despite being ‘worn out’ from the demands on the Young family’s time. ‘Amber Jean’ is kind of a sister song to Neil’s ‘Already One’ from ‘Comes A Time’ and ‘My Boy’ from ‘Old Ways’ – which is fitting because this is about the sister to those two songs about Neil’s sons Zeke and Ben. Neil clearly relates ‘country’ with ‘family’ as all three have similar vibes and backing tracks and the message that whatever ills the future might bring their dad will always love them. Enough to elicit a big ‘aaah’ then, even though the backing is still a little too country for me and the Harvesters sound a bit sleepy here. Full marks to Anthony Crawford’s high falsetto harmony, though, which mixes as well with Neil’s wobbly vocals as his more famous harmonisers Nicolette Larson and Linda Rontsadt’s did.
‘Are You Ready For The Country?’ was one of the lesser moments on ‘Harvest’, which isn’t one of Neil’s better albums no matter how many millions of copies it sold. Part threat, part promise, it’s an unfocused gangly song that has more in common with Neil’s angry rock attacks on the music business like ‘Mr Soul’ and ‘Walk On’ that it does with country music. The musician narrator of the song tries to tell his story to us but it’s a rather generic one, with a preacher trying to bring him to salvation and a drug pusher trying to take him to sin (I’d love to have heard Johnny Cash sing this one as its virtually his story – he sang two NY songs over the years, ‘Heart Of Gold’ and ‘Pocahontas’ but never this one alas!) Heard here, with a country band playing rock rather than a rock band playing country, it sounds much better than before, with a fiddle solo and a bottleneck guitar solo that makes much more sense than Neil’s electric guitar playing as heard on the record. The band clearly know the song well, too, and turn it in with a much snappier, bouncier pace than the sleepy original. As we said above, this song is Neil’s version of ‘Get Back’ and like The Beatles song it features a great beat, fantastic riff and glorious playing – but not much going on in the heart of the song which is all filler apart from the chorus. Of course it wasn’t time for Neil to go ‘country’ after releasing this the first time round in 1972 – he got into rock and roll instead, recording his ‘doom trilogy’ and only really getting back to where he left off with ‘Harvest’ on the much superior ‘Comes A Time’ six years later (see news and views no 29).
‘It Might Have Been’ is a fascinating song, one which to the best of my knowledge never made it out on bootleg or was ever returned to past this 84/85 tour. It’s probably the most country song Neil’s written to date too, sounding like a cover version with Neil’s pub singer vocal, fiddle solo and simplistic lines about letting a good thing go. The opening couplet ‘the saddest words of tongue or pen are these four words ‘It Might Have Been’ is a strong opening for a song and although the rest of the lyrics are just filling in the rest of the lyric there’s a really clever structure top this song, which flowers out into a warm harmony-driven chorus and an almost honky tonk shuffle middle eight that bridges the gap between the two quite nicely. I could have done without the squeaking fiddles and like many of Neil’s most country songs it would have sounded better still done as rock, but this song and performance are far too good to have gone unheard for all these years and are the equal of anything on ‘Old Ways’ (possibly barring ‘Misfits’).
‘Bound For Glory’ is the first of two songs actually from ‘Old Ways’ and although far from Neil’s best moment the song definitely suits the looser, more stripped back arrangement here than the syrupy one on record. On the record country legend Waylon Jennings gets to sing along and although his vocal might have suited this record solo it sounded terrible when joined by Neil’s lead – thankfully its only Young and Crawford who sing here. Apparently the song came to Neil when he was on his tour bus in 83, the tour before this one, with the melody arriving complete and Neil rushing to a typewriter he kept at the back of his bus to fill in the words. He later called it his favourite moment on the ‘Old Ways’ record – I can’t say its mine, but I’m warming to this ‘second’ version a lot more than the first, which sounded all false and artificial. A song about a husband and wife parting and then making up, there’s feeling in the song that their destiny is together and that if only they could stop their human frailties (he ends up dating a hitch-hiker and she a trucker, in true country style) getting in the way they’d be ‘bound for glory’. Like the original, this song is way too long and features at least two too many repeats of the chorus, but while no masterpiece it’s nice to hear this song done properly by a band really behind the material (the ‘Old Ways’ version, by contrast, sounds like a load of drunken friends ‘playing’ at being country singers – and failing).
‘Let Your Fingers Do The Walking’ is another unreleased Neil Young song and – while far from the best of Neil’s assorted unissued songs – its welcome to have it on out shelves in legitimate form at last. It’s a song with a theme and arrangement more akin to ‘Comes A Time’, especially the title track which shares the same walking pace tempo and fiddle playing. This is one of Neil’s occasional story songs, about the early pioneers and settlers in America and the contrast with today (which doesn’t fare well by comparison). Neil’s occasional sexist lyrics get the better of him here (‘a man had his own way...while talking to a woman’) although its really a song about not knowing your place in a world where the rules are changing all the time. This could have ended up a serious song, but somewhere along the line became another Neil Young joke, with a chorus about the narrator being listed in the phone directory under ‘broken hearted looking for good times’. The distance between the couple when they phone each other becomes a metaphor for the distance between their relationship (again! If I ever do an AAA article on this theme it’ll have to be at least a top 100!), he’s ‘hung up’ but she’s ‘disconnected’. There’s also a very poor lyric about his beloved ‘giving good ‘phone’. Hmm. At least the tune is nice though, somehow managing to sound like every other country song written since the year dot and yet still strangely Neil Youngish at the same time and with a very pretty chorus that recalls that great unissued (for five years or so) Neil Young song ‘Love Is A Rose’.
‘Flying On The Ground Is Wrong’ was written when Neil was just 21 and in the middle of his first great run of form, appearing on the first eponymously titled Buffalo Springfield record way back in 1966. Richie Furay had the dreamy voice in that band so it was him who got to sing it, but it’s Neil’s composition and suits his more vulnerable, more eccentric voice well. In many ways this is a Dylan-ish song with the tune very much written to fit the lyrics, but the vulnerable youth looking for love aspect is very much the Neil Young of this period, with the title basically an apology for being happy and having ideas above his station, with his excitement after recognising a fellow ‘loner’ getting the better of him. The pedal steel on this version is a neat touch, tugging at the heart strings of the hapless narrator who can’t seem to do any right, but its the yearning, counterpointed middle eight that makes this song (‘sometimes I feel like just a helpless child...’), promising to change by lowering his horizons. There’s also an interesting final verse about the narrator lost in the city, caught in the ‘glare’ of city lights that illuminate nothing and so the narrator simply gives up chasing after his prey figuring she’s too ‘dark’ to care for him back anyway. No one’s ever said anything about this song’s origins (Neil especially) but I sense a bit of Neil’s fellow Winnipeg compatriot Joni Mitchell about this song, with a similar emphasis on shaky images and a line about the partnership not working despite the fact that ‘you’re from my side of town’. In which case what did Neil think when Joni ended up with first Crosby and then Nash?! Clever indeed, this early song fits the country genre as well as it did the pop of the original and proves what a timeless song it really is. A nice addition to Neil’s canon.
‘Motor City’ though is, alas, a huge mistake. A big bludgeoning piece of whinging and casual racism on ‘Re-Ac-Tor’, it’s turned into a weedy country song full of casual racism here. Basically the song is about the patriotic American narrator’s response to an advert saying American cars are no good – though interestingly the studio record’s put down of German’s cars is replaced by Japanese cars in concert. Further lyrics reveal why the narrator’s so upset (he used to work in a car engineering factory in Detroit till he lost his job), but by Neil’s own high standards this is unsubtle, one dimensional stuff indeed. The live version fares better, if only because Neil sings the song in a more mocking, less patronising way and plays a truly blistering electric guitar solo which sounds as out of place in this countrified, brotherly family setting as his cars now seem in the US of A. I do miss Crazy Horse’s harmonies, though, which at least added a bit of colour to the song and the same irritating chugging electric guitar riff is still sadly present (this song would sound much better – and much more menacing – taken at a faster trot I think). It’s also a sort of sister song to ‘Long May You Run’, Neil’s ‘other’ song about cars (specifically the hearse he drove in the early to mid 60s back when it was all he could afford!) and both songs have another thing in common: they’re both among the worst things Neil has ever released!
‘Soul Of A Woman’ is another unissued song and probably for good reason this time. A sweet little verse with a bluesy strut and some oddball lyrics about how a man and woman needs each other, it could have become the basis for a good song, but Neil’s on automatic pilot here and the song never really progresses from this main riff. ‘You can’t help nobody unless you help yourself’ runs the second verse and ‘the perfect combination since the world began’ goes the chorus – and that’s about it, over and over; there’s nothing really to see here you won’t get done better elsewhere. There’s also more examples of Neil in his sexist phase here – she keeps him warm at night, she keep shim ‘satisfied’; you wonder what wife Pegi had to say about those lyrics! You have to say, though, the International Harvesters sound surprisingly at home on what is really a blues song not a country one and the fact that this recording is of any interest at all is down to the great players here (Anthony Crawford is, again, the star of the recording). Not bad for an outtake, although it would have been a mistake if released at the time I fear.
‘Get Back To The Country’ is the other song off ‘Old Ways’ and in one fell swoop its gone from being my least favourite song on the album to the best. Where the original is slow and ponderous, with cloying fiddles and comedy jews harp being played throughout throughout, this version is played at a rat-a-tat pace and is led by a banjo which is a neat touch (most people seem to hate the sound of banjos but not me – The Hollies have brainwashed me into liking them over the years). Heard at such a pace this song about getting back to your roots sounds even closer to ‘Get Back’, with the same incessant riff that won’t shut up and the same enjoyable feeling that the music could go anywhere. Genuinely exciting rather than forced, Neil sounds like he means it this time around which is a bonus given that this song is a very personal one, with Neil looking back on his youth who ‘got lucky in a rock and roll band’ but always knew he’d end up writing country music (actually the country stylings don’t really show up till Neil tackles ‘Oh! Lonesome Me!’ on ‘After The Goldrush’ in 1970 but never mind...) There’s also a second verse about being part of a ‘band’ who live and breathe for country music and are simply updating the old days when people used to gather round campfires (although like a gypsy the touring wagons roll after every gig). Again there’s also no Waylon Jennings around to spoil the mood – although again its the harmony between the pair that didn’t work (a solo Jennings version would have been pretty special, especially done like this).The only down side is that, being played so fast this time around, the performance is so short (an extra verse would have gone down well here, Neil!) Not one of Neil’s best songs by any means, ‘Get Back To The Country’ is the surprise of the album, transformed in every way a song can be and whilst it still isn’t my favourite Young song it sounds one heck of a lot better than it used to. Full marks to the International Harvesters for ‘getting’ this song in a way the ‘Old Ways’ bunch never could, despite the millions of dollars and dozens of players taking part.
Similarly ‘Southern Pacific’ sounds better in every way, even though it always sounded like one of the better songs from ‘Re-Ac-Tor’ to start with. Freed of the Crazy Horse cacophony of sound, the Harvesters really bring out the subtlety in this remake of ‘Casey Jones’ forced into retirement (see our review of the Grateful Dead’s ‘Workingman’s Dead’, news and views no 138, for more on this character). We’ve already seen how trains are a huge hobby for Neil and like many of his ‘train’ songs here the metaphor is the passion and drive for whatever you have in life: unfortunately in this song it’s about a train driver who only lives for his trains being told the service has to cut back and ‘Mr Jones we’re going to have to let you go’. Basically, it’s a song about getting older, facing your ‘own steep decline’ and watching younger people overtake you – Neil was all of 36 when he wrote these words and they suit the slightly older, country feel of this version (when Neil was 40) much better, with some very descriptive lyrics of the noble engine threading its way through South America. Many writers have commented on how mournful trains can sound (Ray Davies on ‘The Getaway’ and Paul Simon on ‘Train In The Distance’), but few sound as mournful as this slower version of ‘Southern Pacific’, especially the heavily extended instrumental section with both Neil’s guitar and Joe Allen’s fiddle playing mimicking the screech of a train on the tracks and the hoot of the whistle. It’s a very atmospheric record this one, with Neil really getting into character with his call out on the end section ‘Southern Pacific...no 945...Arriving track no 7....Get your baggage ready...’ Try as I may I can’t find any mention of a specific 945 engine, but knowing Neil there probably is one out there – he certainly knows his stuff about trains! The song may have been revived by Neil (after four years of never being played on tour) after the news in 1984 that the Southern Pacific Railway was being bought up by Santa Fe Industries in 1984, which might account for this new version’s melancholy air and frustration. The highlight of the whole album for me, with a promising song finally making good on the promise of the rather rushed and simplified rock version on ‘Re-Ac-Tor’. arve
The personal sob stories so often told in the country genre clearly work well for Neil – but alas his attempts to use country music to embody a whole generation/species are less successful across this album. ‘Nothing Is Perfect In God’s Perfect Plan’ is a woefully clichéd song and its simplified religious guff is especially hard to take after so many anti-religious Neil Young songs down the years (‘Yonder Stands The Sinner’ ‘Soldier’ ‘Southern Man’ ‘Song X’ etc). Basically its a pre-cursor to ‘This Ole’ House from CSNY’s ‘American Dream’ via Neil’s own ‘Depression Blues’, telling the tale of a simple family who don’t despair over the hardship they feel in life because they know God has big plans for them. There’s one great line in the song (you just have to ‘look in the shadows to see’ that things aren’t perfect – and if we all has a perfect world we’d get lazy and take God’s love for granted; OK if you’re just having a slightly difficult time but is that really true of the homeless, the hungry and those who have their livelihoods and families wiped out by disease, war and natural disasters?) Occasionally when Neil does these sorts of songs he does them ironically, but there’s not a trace of that here with possibly the most traditional country arrangement of the record – only one line rings wrong here and that’s the line about having soldiers ‘so strong they can bury their dead’. Is that sarcasm about them being strong – or simply that emotionally they are strong? Some viewers may know this song from Neil’s Live Aid performance (it never came out on record) and it made for a typically jarring note – while everyone else was singing songs of cautious positivity here’s Neil telling us we don’t really have a problem with world hunger and genocide and that God intended it all. Thankfully this version is tighter and less naive-sounding, despite being a live recording as well, but that doesn’t make the sentiments any easier to take. Some unissued Young songs should stay that way – sadly after an album where the new songs are by and large the best this one’s a big fat turkey.
The album ends with the one true classic addition to the Young back cataloguer ‘Grey Riders’. The last song added to the tour, it’s noticeably edgier and noisier than the other songs here and suggests that the story about Neil ending the tour when he woke up with rock music in his head was probably apocryphal. It’s great to hear Neil’s ‘old black’ guitar screaming at full pace and the band as a whole really come alive on this song about mysterious hooded figures walking ‘outside the window’. These figures play a large part in Young mythology and can be seen in Neil’s film ‘Journey Thru The Past’ (part documentary, part dream sequence, part social protest, all of it weird) and in his later album ‘MirrorBall’ on the track ‘Big Green Country’. We never get a resolution to this song, which simply sees these odd grey riders float past and onward to their own tasks unspeaking, but the feeling of threat is the same as in Neil’s ‘Aztec’ songs when a great culture is overthrown by the Eurpoeans. The setting seems to be present day, though, what with the mention of ‘windows’ and domesticated pets: is this Neil’s vision of a future invasion? Whatever the lyrics are about this is a wonderful sounding track with a typically grungy guitar riff on the verses turning into a catchy tour de force guitar lick at the end of each chorus. After some 40 minutes of largely acoustic sounds the sheer sound and scale of this sound is magnificent and the tension going into the extended finale is as intense as on any of Neil’s rock guitar workouts. Why this song never made it to an album is a mystery – much less country than the other songs here it would have fitted in well on ‘Landing On Water’ or ‘Life’, whilst being better than pretty much all songs on both albums. Talked about by Neil Young fans for years and sampled by ,many of us on scratchy sounding bootlegs, it’s great to have this gold carat classic out there properly at last!
So, overall, what we have here is a bona fide treasure chest; the box might have aged, some of the contents seem like they’re missing and there’s maybe only eight or so pieces of eight here. But even if it isn’t the greatest treasure ever found, by Neil or anyone else, the very fact that these treasures have been unearthed at all is fantastic and you can forgive the fact that the treasure is incomplete and damaged round the edges. We fans have known for years that Neil has one of the best collections of a musician’s own works in the business and its great that finally we’re getting to the real jewels in his crown, rather than the ones that will sell better and feature Crazy Horse or songs from Harvest. The ‘Old Ways’ album isn’t that well known as Neil Young albums go and largely for good reason and as a result this fourth ‘Archive’ album doesn’t seem to have sold as well as the others – but if you’re a true Neil Young fan like me who wants to own everything then is an essential purchase, not just a collection filler as were the other three. Let’s hope the Archive series continues (it’s been quiet so far this year) because there’s better still to come – and ,marvel again as to how Neil Young can be so prolific that there are 60-odd solo albums out there to buy as well as three Springfield and five CSNY ones and still Neil has about half as much again sitting in his vault. This guitarist/singer/composer is a treasure indeed and, like Casey Jones, sending him into retirement when he still has so much passion, drive, energy and things to say would be a travesty. Overall rating: ♫♫♫♫♫♫♫ (7/10).
News, Views and Music Issue 147 (Top Five): Bee Gees Songs/AAA bands Catch 'Saturday Night Fever' and Go Disco!
There’s a two-part Top Five for you this week dear readers, both of them in honour of the much-missed Robin Gibb, who died last week at the age of 62. First up we’ll be looking at five classic Bee Gees songs every good AAA collector should own (even if there isn’t one great album to enjoy – hence their absence from our list proper – although ‘Bee Gees First’ is probably your best bet, despite actually being their 4th LP!) Robin is a key part of all of these songs (apart from one by his equally talented twin Maurice) and his writing contribution to the band should never be overlooked. After that we’ll be looking at AAA forays into the world of disco, the genre pioneered by The Bee Gees in the late 70s. Surprisingly Neil Young has never made a disco record despite covering, literally, every other genre under the sun. In fact all we could come up with was this list of seven examples, listed in chronological order, with The Hollies surprisingly early on the disco trail, releasing their single when Saturday Night Fever was still in production...Only one entry per band, by the way, and so we’ve tried to go with the most obviously disco where we can. Oh and an honorary mention for The Who’s ‘Sister Disco’; the version on ‘Who Are You?’ is way more rock than disco but the lyrics bid the genre a kind of fond farewell!
5) My Thing (Cucumber Castle, 1969)
Maurice Gibb was the ‘George Harrison’ the ‘Dave Davies’ or the ‘Dennis Wilson’ of the band. By that I mean the dark horse who quietly mastered everything anyone needs to know about composition in a very short time and without the fuss made by his noisier colleagues. ‘My Thing’ is pretty much the only song in the whole of The Bee Gees’ impressive 35-year-run to have just Maurice’s name in the credits and, as the name implies, it’s a very personal piece. A snapshot in time, it features his girlfriend of the day (Lulu, though never named in the song), the family dog and, well, not a lot else really. But that’s all we need for a wonderful instrumental fade that goes on and on, sounding like Brian Wilson at his peak orchestral period, serene and other-worldly and completely unique. No wonder Maurice called it ‘my Thing’ – few other writers have got away with such a ‘loose’ song as this one and yet every note is spot-on, from the staccato bass opening to the dowdy-doo-wowsy chorus.
4) Run To Me (To Whom It May Concern, 1972)
‘Run To Me’ was the band’s last big hit single pre-Disco and yet it always gets forgotten these days. Like many of the band’s breathy ballads this is slow indeed but unlike some Bee Gees singles I could mention (How Do You Mend A Broken Heart?) the tempo perfectly encapsulates the mood of sadness. There’s also a killer chorus which features perhaps the ultimate example of the band’s classy three-part harmonies, turning one of the saddest songs in pop into one of the most uplifting in one fell swoop. Barry’s lead vocals are his best ever for the band (long before he started wearing tighter trousers and singing falsetto – hmm, there may be a link there) but its Robin’s gentlemanly tone on the chorus that makes this song a classic. A perfect lesson in contrasts.
3) Blue Island (Size Isn’t Everything, 1993)
This late-period song from the band’s penultimate LP is another classy ballad sung by the band in harmony throughout – unusual for their later days when fans can tell more and more which Gibb brother is behind which song (whatever the three-way writing credits say). This one is Robin’s song and it’s a gorgeously retro moment on perhaps the band’s biggest attempt to sound contemporary since the disco era and its a tremendously moving moment, with the three Gibb brothers singing pretty much alone (for pretty much the last time as it turned out, with Maurice dying shockingly young just eight years and one album later). Looking to find hope and courage in a tight spot, the lyrics are clearly inspired by the brothers’ charity work (the song is dedicated ‘to the children of Yugoslavia’) and would have made for a much more fitting song than the ‘Band Aid’ one. ‘There but for the grace of God go I’ ends the song, making the observation of the opening verse flower into a much more personal response to death, destruction and disaster.
2) Every Christian Lionhearted Man Will Show You (First, 1967)
I so wish the Bee Gees had spent longer in their psychedelic phase, because its the style that suited them best. There are many fine ‘summer of love’ type moments on their ‘First’ album but its this far-out track, with the brothers accompanied by disembodied choirs (made to sound like bass rumbles thanks to studio trickery) and a haunting moog synthesiser part that sticks in the memory most. There’s a great song in there even without all the Moody Blues-ish effects too, with a fascinating lyric similar to ‘Blue Island’ urging people to make the most of their lives whatever their situation (and , despite their title, whatever their faith). This song might not be the most obvious Bee Gees song, but it’s their peak as an experimental pioneering band making recordings that literally no one else would have made, back in the days when #every child was thinking up something wild’!
1) To Love Somebody (First, 1967)
The best Bee Gees song by miles – whatever the results of channel 4’s poll last year decided – is this haunting ballad covered by AAA star Janis Joplin. She got a lot of stick for doing this song at the time, what with her traditional image as a hellraiser and their traditional image as pop musicians. But Janis clearly heard something real and honest in this song, which may just feature one of the most heartbreaking sets of lyrics about, well, heartbreak ever written. ‘You don’t know what its like’ cuts the chorus, but its sadness not bitterness that lives through this song and the narrator whose so in love that he just cannot let the person of his dreams go however obvious it is that it’s over. The opening, with its metaphor of a light that won’t shine on the narrator no matter how hard he tries, looking for intervention from above, is classic songwriting. For me the Bee Gees version is Robin Gibb’s finest moment with his band (that’s his quavering voice in the second half and most of his lyrics), but their version is spoiled by an unnecessary coda that makes the whole thing sound upbeat by the end. This is a song that should remain fiercely sad right to the bitter end, without any help from any direction and the singer trapped all alone in his misery.
Now, you may have noticed that there aren’t actually any ‘disco’ era songs from the Bee Gees here, by far their best known period. The truth is I just don’t like them that much and, till I started looking for tracks for this week’s top seven, I always though I didn’t like disco that much. I mean, most disco songs are there to dance to and as we’ve been saying often on this site if you’re listening to a song that makes you want to dance, as opposed to wanting to think or cry or hug somebody then frankly that’s a waste of crotchets and quavers. Music to me always had to be heartfelt – and yet against all odds the seven AAA examples in the disco genre are. Of course most of them were criticised when they came out for jumping on bandwagons and being too far removed from a traditional sound but that’s OK with me as long as the results are good. So let’s hear it for seven AAA disco songs that somehow all managed to beat anything released by any supposed disco stars...
1) The Hollies “Draggin’ My Heels” (Russian Roulette, 1976)
The most ‘disco’ song on what is generally considered to be The Hollies’ ‘disco’ album is probably the highlight of the set. So popular was it in dace-halls that the band later stuck out a 12” remix of the track – forget that, though, and stick with this five minute version which is an excellent example of how a detailed production and a funky beat can enhance a quite sensitive set of lyrics. ‘First at the gatepost, but the last one through’ runs a lyric that, like many of the band’s finest 70s songs, depicts the narrator as a loveable loser down on his luck. The disco style doesn’t sound as odd as you might think – The Hollies often mixed their usual influences with bossa nova and this song is a logical extension of songs like ‘We’re Through’, where the accents are on the 1 and 3 beats (instead of 2 and 4 as is most Western music not written by Brian Wilson where no rules apply!) The best section is the magnificent middle eight where the rhythm section takes over and Allan Clarke and Terry Sylvester in harmony reel off some quick-snapping rhymes that must have tired out all the dancers at the disco trying to keep up. Other Hollies disco songs to recommend: anything else from ‘Russian Roulette’ except their one attempt at a disco hit ‘Wiggle That Wotsit’, a song now regarded as a bad idea (from the title down!)
2) The Rolling Stones “Miss You” (Some Girls, 1978)
The one bona fide hit on this list was this top 3 single for The Stones – their comeback in many ways after a series of songs that only went top 20 or top 30. This is the period when tensions between Jagger and Richards were beginning to reach their peak and they took to writing alone; this one is entirely Mick’s song and while it’s one of only two times the Stones did disco (‘the weaker ‘Emotional Recue’ being the other) Jagger clearly had affinity with the genre as there’s lots on his first two solo albums. Jagger’s persona has always been about swagger (ooh that rhymes!) and he sounds very at home on this simple track about ‘being abandoned’. What’s a bigger surprise is how at home the others are – Keith Richards’ very Chuck Berry guitar still fits well, Bill Wyman gets the whole disco groove thing in one go and Charlie Watts sounds like he’s had a whole new lease of life (indeed, ‘Some Girls’ is his best record by some margin). Only a nonsensical ‘ooh oooh oooh oooh oooh’ chorus and the Americanised drawl of ‘whatsamatterwivyouboy?’ gives away that it’s still the same Stones who are better known for their unique brand of ‘swampy rock’. This song also had a 12” disco remix – and like all the many dozens of Stones remixes out there by other people, it’s dreadful, with more time spent on the sound effects than the song.
3) Paul McCartney and Wings “Goodnight Tonight” (A side, 1979)
Another hit, this song charted at #10, although its reputation has grown more in the years since it’s release – at the time many critics hated the idea of a Beatle doing disco. The last ‘proper’ single (they’re credited for ‘Wonderful Xmas Time’ but don’t play on it) it’s a fine way to say goodbye, with Laurence Juber, Denny Laine and Macca criss-crossing guitar solos (a trick last used 10 years earlier on ‘Abbey Road’), some classic drumming from Steve Holly (who sounds more at home with disco than he ever did with the rock or new wave stuff on ‘Back To The Egg’) and one of Macca’s best ever bass lines, working in complete contrast to the rest of the song. Wings might have said goodnight after this song, but its a great way to go, mixing a very 50s melody line (with shades of Buddy Holly) with all the best bits of the late 70s music scene. As exciting as music gets, this time it actually is worth looking out for the 12” remix, although unlike the above examples this one only runs about 45 seconds or so longer rather than minutes.
4) The Beach Boys “Here Comes The Night” (L.A. Light Album, 1979)
Unusually this time it’s the single disco remix that’s shorter (some four minutes) and the album version that’s longer –a whopping 11 minutes! Most fans hate this noisy disco re-tread of a rather unassuming song from ‘Wild Honey’ (1968), but I think it’s a whole lot of fun, making the most of both the song’s great riff (barely used in the original) and the Beach Boys’ stunning harmonies (well, Carl Al Mike and Bruce anyway – Dennis is missing and probably Brian is too). The use of a funky bass part and a clattering string part should be annoying but instead they just help make song one of the great examples in how to build and release tension in a song, adding one little bit at a time. Masterminded by Bruce Johnston, then officially just the producer helping out his ‘old’ band on a song, its a dazzling display of high-wire harmonies and, whatever the band thought of it later, they each give their all here. I remember writing my A level General Studies mock exam about The Beach Boys and getting good marks for arguing how pioneering the band stayed right up to this ‘disco’ era, outshining their competitors by going longer, better and brainier. Alas on the proper exam I had a daft question where I had to argue how wonderful a prime minister Margaret Thatcher had been for the country – needless to say I got very low marks for that, possibly the shortest essay I have ever written.
5) The Kinks “(Wish I Could Fly Like) Superman” (Low Budget, 1979)
Possibly my favourite moment on this entire list, this is Ray Davies at his story-telling best. Most disco songs are about ego, the brilliance of the dancer on the dancefloor and how things are going his or her way, etc. Ray Davies instead uses disco beats as the incessant demands of a world where the narrator is so convinced of his pointlessness that he dreams of becoming a super hero and putting the world at rights, even though he tires himself out doing press-ups. Mick Avory’s drumming has never been better, Jim Rodford’s bass is superb, Dave Davies gets more chance to play than on any Kinks record in ages, Ray Davies really lives through his character and best of all the swash-wave sound effects so common on disco records of the time sound great here, rather than cheesy. One of the best Kinks efforts of the late 70s, this disco song deserved to do much better (one of the few times Ray Davies ever sounds truly happy in his ‘unauthorised autobiography’ X-Ray is previewing this at a disco and watching it blow everyone else away). Proof that disco and dance music don’t just have to be ‘empty’. This time its the 12” disco remix (kindly added to the ‘Low Budget’ album as a bonus track) that’s the best, playing a full 150 seconds longer than the rockier original.
6) Pink Floyd “Run Like Hell” (1979)
Finally, we reach this intriguing song from perhaps the band least likely to go disco, Pink Floyd. Then again a disco song arguably makes sense in the context of the ‘Wall’ story at this point in the album’s fourth side when Pink’s ego is getting to him and he feels he can do no wrong. This really is a sarcastic song rather than a true disco song, with the incessant beat of the dance-floor turned into a typical Floyd song about paranoia and terror (and thus not too far removed from early songs like ‘Careful With That Axe Eugene’ and ‘One Of These Days I’m Going To Cut You Into Little Pieces’) In concert this was dedicated ‘to all the weak people in the audience’, both a sarcastic diatribe against fear in the audience and those in the audience there for the spectacle’ and to be there for a best-selling group, having sold out to disco only the week before. Like many of the Floyd’s best songs, its based around a terrific guitar riff from David Gilmour that sounds like hell to play and there’s a great tune going on in there underneath Waters’ typically bitter and forthright set of lyrics. Waters sings the song’s criss-crossing vocals all himself on album but its on stage (with Gilmour trading lines) that this song really takes off, being heard at its best on the ‘Is There Anybody Out There?’ concert version of ‘The Wall’.
And that’s that. Join us next week for another edition of everyone’s favourite online newsletter involving AAA groups, News Views and Music.