Monday, 19 November 2012

News, Views and Music Issue 171 (Intro)

November 28th:
Dear all, here we are again with another newsletter dedicated as ever to news, views and music. To be honest I’m writing this edition right to the wire of our Monday posting deadline and we have quite a lengthy review for you this week as well as quite a few TV and radio news round-ups so I won’t waffle on (yet). The only thing to mention is that our sites now have a collective hit rate of 32,862 and we’ve been a big hit in Latvia this week! One thing I do have to add though, no doubt with more next week, is that Cameron has said this morning that he’s ‘sick of red tape’ delaying Government laws and the rest of the Commons a- and the media – have murmured in support. If so they’re all thick – we need the appeals system the Coalition is taking away so that we can fight the Government when they get it wrong (which is the vast majority of the time these days). If they take the ability to appeal to an independent third party away we no longer have a democratic Government – we have a Stalinesque totalitarian regime where you are no longer allowed to question official decisions (and even with the best will in the world where there are human beings in charge there will be mistakes). This scheme is wicked and the worst step yet towards our freedoms being stripped away, with only the coalition evil enough to think of it and only our present media stupid enough to let it pass without a fuss. I rest my case. There’s quite a few TV and radio AAA appearances to mention this week but don’t forget to check out our other news stories in this handy newspaper-style format:

♫ Beach Boys News: BBC4 spend next Friday, November 30th discussing the new Beach Boys reunion with a documentary 'Doin' It Again' and a repe4at screening of the band's 1980 Knebworth concert - their last with the full band before Dennis Wilson's death in 1983 and yet another repeat of the Dennis Wilson documentary 'The Real Beach Boy'.

♫ Beatles News: The old Beatles-Stones rivalry is back! While BBC2 devotes next Saturday again to their new Stones documentary, ITV are competing with Paul McCartney's 'Live Kisses On The Bottom' concert, showing at 11pm on ITV. While hardly the m,ost scintillating of albums for Macca to perform (see our reviwew...), it does mean we won't have to fork out a fortune for the DVD so hats off ITV!

♫ Kinks News: Entertaining new series ‘Mastertapes’ on Radio 4 has been a big hit so far, asking musicians in the present day to re-asses an old album (often not the most obvious ones) and re-visit their youthful songs in the present with bare, acoustic performances. Divided into two programmes looking at the ‘A’ and ‘B’ sides independently, it’s been an intriguing twist on an old formula and I’ve been waiting for an AAA band member to take part. At last its here: Ray Davies discusses both ‘Lola Vs Powerman’ and ‘Muswell Hillbillies’ on Tuesday, November 27th and Monday, December 2nd at 3.30pm on Radio 4, which should be a treat indeed seeing as Ray barely covered these events in his autobiography ‘X-Ray’ and hasn’t really talked about them since 1970/71 respectively.

♫ Pink Floyd/Cat Stevens News: BBC6 have spent the last month appealing for fans to send in their old cassette recordings of tracks they might not have in the archives and after a bit of sprucing up have compiled them into a series of programmes under the banner ‘The Listener Archives’ on Sundays at 12pm. We’ve only had one show so far but that was a treat, featuring a rather muffled Pink Floyd from 1969 with a rare, swirly performance of ‘Point Me At The Sky’ from 1969 on a John Peel Session (‘you can put your heads back on now’ the DJ deadpans at the end), Paul McCartney mucking about on the Kenny Everett show and a still poorly Cat Stevens talking to Kenny Everett about why he’s been missing from the music scene for a while (‘I had TB and nearly died, Ken’) and performing a lovely version of ‘Trouble’. We’ll keep you posted what other AAA gems crop up in this tantalising series, but if you want to hear this lot they’ll still be available on I-player until Saturday.

♫ Rolling Stones News: As you probably know by now, last Saturday, November 17th saw the broadcast of a much publicised Stones documentary ‘CrossFire Hurricane’. Using unseen footage and new interviews, it tries the hard task of telling the story of the band’s 50 years in music in just two hours, the first of which was broadcast on BBC Two (its still available on I-player for a while. More interesting still is the unedited red button footage of the band on tour in 1972, 81 and 03 which was is to be screened several times this week so keep an eye out for that in case you missed it). The documentary is similar to the ‘Early Beatles’ montage screened in 1982 that saw only minimal links from the present day and mainly just presented rare (and some not so rare) footage from the years 1962-68. Part 2 – covering the Mick Taylor and Ronnie Wood years – is on this Saturday, November 24th at 9.45pm.Next week's part is coveredd by a fascinating looking compilation of 'The Stones at the BBC' and the culture show special from 2010 which interviews Keith Richards about his autobiography 'Life'.Fans should then cross over to BBC4 at 11.30pm for a rare showing of the Stones in concert with their idol Mudday Waters in 1981 (the same period our review this week dates from incidentally!) The next stop is the classic 1960s documentary film of the band 'Charlie Is My darling', showing on BBC2 on Sunday, November 25th at 11pm.

As fort this week, BBC 2 also repeated the classic ‘Rolling Stones Rock ‘n’ Roll Circus’ from 1968 (not shown till 1997) and the not-so classic compilation ‘...Sings The Rolling Stones’ full of surprisingly straight-laced versions of Stones classics first broadcast on BBC4 a couple of years ago – it goes without saying that if you haven’t got round to visiting the Stones’ circus yet, you should – if only for The Who’s highwire set!

BBC6 celebrate the Stones most of the following week, with repeats of their ‘Classic Singles’ episode on ‘Brown Sugar’ broadcast at midnight Tuesday, November 27th and the two-part ‘Rolling With The Stones’ on Wednesday and Thursday, November 28th and 29th at midnight.

ANNIVERSARIES: Sadly there are no AAA stars born between November 21st and 27th. There are heaps of anniversaries of events however: No less than three important Beatles releases come out for the Christmas market on November 22nd (‘With The Beatles’ in 1963, ‘The White Album’ in 1968 and John Lennon’s last record ‘Double Fantasy’ in 1980); The Rolling Stones are temporarily banned from all BBC Radio for the heinous crime of - gosh – turning up a bit late for a show for the series ‘Saturday Club’ (November 23rd 1964); The Who play their first gig at London’s Marquee Club, the venue that will forever be linked with their name (November 24th 1964); Otis Redding scores the biggest single hit of his short lifetime with ‘Fa Fa Fa Fa Fa Fa (Sad Song)’ (November 24th 1966); John Lennon returns his MBE, awarded in 1964, to The Queen along with a letter outlining his fury at Britain’s involvement in Biafra and Vietnam and, umm, ‘Cold Turkey’s poor showing in the charts. His Aunt Mimi is furious – she’s been keeping the medal in her living room and thought her nephew wanted to borrow it, not use it as a political gesture! (November 25th 1969); The Band’s farewell extravaganza ‘The Last Waltz’ takes place including AAA members Neil Young, Stephen Stills and Ringo Starr (November 25th 1976); 10cc split into two after just four albums, surprising all of the fan base who hadn’t spotted any signs of discord in the group (November 26th 1976); Paul McCartney and Wings’ little seen but fabulous concert film ‘Wings Over America’ finally premieres in the US some four years after being shot (November 26th 1980); The Beatles release their double EP ‘Magical Mystery Tour’, ahead of a screening of the TV special on Boxing Day; contrary to popular belief the soundtrack is very well received (November 27th 1967) and finally, The Rolling Stones start a four day concert tour at Madison Square Gardens, the highlights of which are immortalised on the most popular Stones live record ‘Get Yer Ya-Yas Out!’ (November 27th 1969).

The Rolling Stones "Tattoo You" (1981)

“You make a grown man cry, ride the wind at double speed, I’ll take you places that you’ve never ever seen” “You make a dead man come” “In the sweet old country that I come from nobody ever works, nothing ever gets done, we hang fire” “Marrying money is a full time job, I don’t need the aggravation I’m just a full time slob” “The heart’s racing, the track is fading, the joints rocking – could be anytime at all, but the bitch keeps bitching, the snitcher keeps snitching, dropping names and telephone numbers and all” “We used to ride baby, ride around in limousines, we looked so good baby, you in black and me in green” “I get so scared just to see you on the street, you look all the same and you never speak” “Those dreams are gone baby, locked away and never seen, well now look at your face now baby, look at you and look at me” “Neighbours, do unto strangers what you do to yourself” “I’m worried, lord, I’ll find out anyway, sure going to find myself a girl some day, till then I’m worried, I just can’t seem to find my way” “The nights I spent just waiting on the sun, just like your burnt out cigarette you threw my love away” “Step on the ladder, toe in the pool, you’re such a natural you don’t need no acting school, don’t need no casting couch or to be a star in bed, never let success go to your pretty little head, because I’ll take you to the top baby” “Don’t let the world pass you by or you’ll be sorry for the rest of your sweet loving life, baby” “Kissing and running, kissing and running away, senses be praised, you’re my saving grace, nothing will harm you, nothing will stand in your way, there’s nothing...” “Standing in the kitchen, looking way out across the fields, you see a face in the window, but it’s not real” “Standing at the station, staring down the track, there ain’t no train coming, I ain’t never coming back” “Standing on the balcony, looking out towards the sea, if you see your ship a-come a sailing, it’s not me, it’s not me” “Making love and breaking hearts is a game for youth”

Rolling Stones “Tattoo You” (1981)

Start Me Up/Hang Fire/Slave/Little T&A/Black Limousine//Neighbours/ Worried About You/Tops/Heaven/No Use In Crying/Waiting On A Friend

There are many noble reasons to release a record. The desire to communicate with an audience, the chance to put across an idea that’s never been done before, the chance to understand and come to terms with the events in an artist’s life or wanting to give an audience something back after years of success. Making a record because you want to go out on tour and have something to flog isn’t really one of them. Yet even though that’s exactly the un-noble, decidedly un-rock and roll reason Tattoo You (by far the Stones’ worst album title) was made, it’s actually one of the band’s more satisfying LPs, certainly in the second half of their long career. For those who don’t know, this record is really the world’s first rarities and outtakes set, 9/11ths of it unfinished and unreleased tracks taken from the band’s impressive archives back in the days when bands just didn’t do that sort of thing if they wanted to stay ‘valid’ and ‘contemporary’ (the ‘re-issue’ is effectively born when CDs come along in the mid to late 1980s – had the band toured in, say, 1989 without an album they’d no doubt have stuck this album out as it was). The band were cagey about it at the time too, simply not printing writing and performance credits on the original record or giving any indication of dates (although sharp-eared fans still recognised Mick Taylor’s playing a mile-off). You could view ‘Tattoo You’ as the first real sign of an AAA band coming to terms with their great heritage and history – or simply as a lazy album made with a minimal of effort. Either way, it’s generally seen by fans as a late flowering classic.

The curious thing is that this album of outtakes is generally considered superior to all the Rolling Stones albums of the 1970s these tracks could have been on. Indeed, most Stones fans prefer it to the band’s own ‘Sucking in the 70s’ compilation LP which irritates fans from the title down. In some parallel universe where ‘Tops’ and ‘Waiting On A Friend’ made it onto ‘Goat’s Head Soup’ that album would be considered a classic, not a near-miss that saw the start of the Stones’ decline, ‘Slave’ would have brightened the pedestrian ‘Black and Blue’ up no end and ‘Start Me Up’ would have made ‘Some Girls’ even more of an unexpected return to form than it already is. Better still, the two new songs recorded for this album – the sultry, adult ‘Heaven’ and the fun, funky childish ‘Neighbours’ are the best thing the band have recorded for years and actually benefit from the band being inspired and ready to rock for only two tracks for once without having to sustain the inspiration across a whole LP (as I write the band are about to release yet another new best-of compilation, ‘Grrr!’, complete with two new tracks exclusive to the set, a trick they also did with 2002’s ’40 Licks’ and 1991’s live album ‘Flashpoint’, so it’s clearly a situation that works well for the band). Perhaps the biggest tribute to ‘Tattoo You’, however, is that despite a random garb-bag rummage through the band’s past it’s easily the most ‘complete’ sounding Stones album since ‘Exile On Main Street’ from nine years earlier. Most Stones albums tend to pick a sound and then stay there (‘Goat’s Head Soup’ is rock and roll with acoustic tendencies, ‘It’s Only Rock ‘n’ Roll’ is the epic ballads album, ‘Black and Blue’ the extended funk jams album, ‘Some Girls’ is punk seen through the eyes of a bunch of guys in their mid 30s and ‘Emotional Rescue’ is, well, what is that misguided album all about?!) Hearing two minute bursts of punk set against epic six minute funk jamming with the odd bit of acoustic strumming makes ‘Tattoo You’ a much more interesting album than swallowing any of the Stones’ 70s albums in one go.

One other interesting novelty that makes this album stand out amongst the pack is that the fact that this album is divided into ‘rocking’ and ‘ballad’ sides (an idea first started by Nils Lofgren when his band ‘Grin’ released their excellent ‘1+1’ album in 1969). This idea sounds stupid on paper, but it works well in practice because a) fans had been crying out for the Stones to add acoustic (or at least less noisy) songs to their setlists for some time and b) the rockers here are all subtly different and hearing them together shows off how versatile they can be at their best: ‘Start Me Up’ is prime swamp rock early 70s Stones (despite dating from 1978), ‘Hang Fire’ and ‘Little T&A’ are more contemporary with their new wave colleagues, not so much rocking as swinging; ‘Slave’ is funk from the ‘Black and Blue’ period, ‘Black Limousine’ is a welcome return of blues-rock to the band’s work and ‘Neighbours’ is a burst of retro rock that sounds like it dates from the 1950s. The safe bet for the band would have been to shuffle these rock songs around with the breathy ballads but by sticking them all together the band are showing off how many genres they’ve covered down the years.

Even though it’s generally been acknowledged as a good move, some fans are confused how ‘Tattoo You’ ever came into being at all. Why didn’t the band just make a new record built on the two good songs they already had? Well, one reason was timing. In 1978 the Stones had signed to a lucrative but, considering the era, pretty punishing contract with their old rivals EMI (later sold to Virgin), with the agreement of releasing six records as quickly as possible (the comparative failure of ‘Undercover’ and ‘Dirty Work’ in 1984 and 1986 means they get a bit of a break for bad behaviour before being released from their contract with ‘Steel Wheels’ in 1989). After being inspired for ‘Some Girls’ in 1978 and tired on ‘Emotional Rescue’ in 1980 the band had nothing left in the tank. Another, perhaps, is age: being among the older AAA bands (on average) The Stones were among the first to pass the major milestone of 40 during the making of this album and may have wondered what their role in the music scene now was (as ‘Waiting On A Friend’ puts it ‘making love and breaking hearts is just a game for youth’).

The other is the state the band were in come 1981. By this time the Stones were the only band from the 1960s still standing and making records with a majority of their founding members still intact and without any breaks in the interim (Brian Jones being the one exception) apart from The Grateful Dead and The Who (and they only last until 1982; The Hollies and The Kinks are still going but with several line-up changes along the way). However they were far from unified: Keith Richards had come so close to arrest and imprisonment in 1978 that he was forced to clean up his act for good –something that was going remarkably well considering the decades of abuse he’d put his body through but left him tetchy and less inspired to write. Indeed, so bad were things between Mick and Keef that Bill Wyman talked in the press about the 1981 tour being their ‘last’ and a sobbing Charlie Watts told his wife Shirley that the band were ‘over’ when Keith failed to show for a band meeting in New York (which Keef himself had arranged and then forgotten about). Just when the band did finally come to some agreement and announced their much delayed 1981 tour Ronnie Wood’s drug use got to the point where the others told him to clean up or leave the band (given the condition Keith had been in for much of the 70s it must have been pretty bad!) Most of the work on ‘Emotional Rescue’ and the two new songs on this album were down to Mick alone and I’d hazard a guess that Ronnie Wood plays as many of the overdubbed solos on this record as Keef (getting his first two writing credits on a Stones album in the process). Frankly a band can’t record an album together if they’re not a band and the Stones were struggling hard enough to play their well oiled hits routine well in this period if contemporary live album ‘Still Life’ (1982) is anything to go by. That’s actually a shame in a way – freed of the need for guitar solos or riffs ‘Heaven’ shows off Mick’s lyrical abilities better than any other Stones song since the 60s and having one undisputed leader of the band rather than two in some ways helps the band’s sound in this period.

Much of the credit for this record goes to producer Chris Kemsey, who pushed to make this record from the gems that he knew had been discarded across the sessions for previous albums he’d worked on with the Stones (unlike some producers/engineers he’d meticulously recorded and catalogued everything the band tried – which means that on a shelf somewhere gathering dust are a box set’s worth of interminable Jimmy Reed and Chuck Berry blues jams). Some of these songs Kemsey had been pushing for the band to make for years; ‘Start Me Up’ – still the Stones’ last top 40 single to date – hadn’t really caught fire in 1978 when the band had tried every variation they could to make it work (punk, reggae, disco) except the obvious one (all-out rock). Others were nice surprises: everyone had forgotten about the ‘Goat’s Head Soup’ songs ‘Tops’ and ‘Waiting On A Friend’, perhaps because these two succinct songs sounded so different from the unusual spaced-out vibe of that under-rated album. The tapes were then handed to Mick who filled in the lyrics where some were missing and then recorded his vocals without the rest of the band in Paris, ‘in a broom cupboard’ in double quick time. However, even these sessions used a patience and eye for detail the band hadn’t shown in some time; figuring the long rambling track for ‘Slave’ needed an extra added something Mick hired a true jazz legend in Sonny Rollins to add a saxophone part instead of just rambling something into a microphone, while Jagger gets his mouthorgan out of mothballs for some long overdue playing on ‘Black Limousine’. Even then the album wasn’t finished – Kemsey handed in the completed recordings to engineer Bob Clearmountain (a big name in the days of 12” remixes) and got him to remix the entire record from scratch, giving it a similar surface sheen that made it sound like a ‘proper’ unified LP, not just a bunch of outtakes stuck together.

By and large – and thanks chiefly to these two men with Mick Jagger’s help - ‘Tattoo You’ overcomes its troubled, potted history to become the best Stones LP in quite a while. Or at least better than it has any right to be. ‘Heaven’ is my nomination as one of the best Stones tracks of all time, romantic, ethereal, gossamer light and evidence of how much invention and imagination the band have at their best. ‘Worried About You’ and ‘No Use In Crying’ aren’t far behind, genuinely heartfelt emotional songs that add a great deal to our understanding of the real deep, caring heart that’s often covered up on Rolling Stones songs by characters acting ‘ard’. ‘Slave’ is among their better extended jam sessions, second only to ‘Can’t You Hear Me Knocking?’ in the extended running times stakes, whilst the album’s two singles ‘Start Me Up’ and ‘Waiting On A Friend’ are cute returns to the band’s old A and B side routine respectively, offering up a punchy hook-filled hit and a more subtle and laidback bit of prime songwriting they usually kept for their flipsides. Had this album come out in 1968 or 1972 no doubt it still would have seemed like the band had lost their way and inspiration, as there certainly as much confidence, swagger or groundbreaking work as in the days of what had gone before. But looked at in context, after a shoddy album and a woefully up and down ten year period, hearing songs this good across a whole LP came as an even bigger shock than the punkish energy of ‘Some Girls’ in 1978.

Of course, this being an album from the second half of the band’s career there are as many false steps and mistakes as there are good choices (when an album as bad as ‘Emotional Rescue’ has tracks left off it for not being up to standard then it can hardly be anything else!) ‘Little T&A’ is dated, misogynistic rock even by Stones’ standards, not a love song as much as a someone being used song despite being one of the first Keith Richards wrote for his longest lasting relationship with wife Patti Hansen. Even worse is ‘Hang Fire’, a song left off ‘Some Girls’ for good reason, is one of the band’s all time worst efforts, a hopelessly out of touch song about British workers being lazy and overtaken by lands from overseas – exactly the sort of lazy, prejudiced song you’d expect a bunch of tax exile millionaires who only kept in touch with Thatcher’s Britain by phone and newspapers to write. Given that we’ve learnt in the years since 1981 that the band had even finer songs left untouched in their archives (‘Following The River’, a classy ballad from ‘Exile On Main Street’, the sparky no-frills rocker ‘Claudine’ from the ‘Some Girls’ sessions and the rambling but fun ‘If I Was A Dancer’ from ‘Emotional Rescue’ among them) you wonder why such second-class songs ever made the grade.

You also have to wonder where on earth the title and the cover art came from. The band had become somewhat fixated by the idea that they were no longer youthful enough to appear on their album covers, despite the fact that most of their fans really didn’t care. ‘Some Girls’ got round the fact with comedy, re-printing the band’s faces in small type with mocked up hairdos like some crazy hairdresser’s salon from the 1950s featuring men in drag; ‘Emotional Rescue’ simply showed the band via a thermal imaging camera that actually made them look twice as old by giving them all premature white hair. This album simply covers Mick and Keef in tattoos, covering up their wrinkles, something that looks a bit daft in terms of Jagger on the front cover and downright hilarious for Richards on the back (the rest of the band, ominously, don’t appear). The full title of this album is a mystery by the way: when Jagger approved the proofs to go to the printers he swears the title was simply ‘Tattoo’ – so is a record company employee to blame for the unconvincing title?

‘Tattoo You’ is an album pieced together like a patchwork quilt, which means that there’s less of a ‘theme’ going on here than normal. However there is a slight one: generally Mick Jagger’s narrators are bold and brash, fully in charge of their circumstances and out for everything they can get. On this album Jagger’s characters are noticeably less go-getting: he might wail ‘I don’t want to be your...’ on ‘Slave’ but that’s exactly what he is, locked into pleasing his partner with every repeat of Richards’ hypnotic riff; in ‘Hang Fire’ nothing gets done by anybody, including the narrator; ‘Neighbours’ has the people next door, not the narrator, making all the noise that keeps him up all night; ‘Waiting On A Friend’ has Jagger calmly waiting to meet an acquaintance – not angrily meeting him head-first to get a move on as the old Jagger would have done; the ethereal ‘Heaven’ has the loved one ‘kissing and running away’, not chasing the lothario Jagger but running the other way; even the catchy ‘Start Me Up’ takes someone else to kick-start the narrator’s wild side. It’s always dangerous to talk about inspiration and what causes it, but it looks to me like there’s a pattern emerging here when all the songs are viewed together – and its one that surely points to Jagger’s situation as an unwanted de facto leader of the band who still can’t make any real decision until he’s passed it through a comatose Keith.

We know now that relationships within the band are about to get a lot worse, not easier, with the band referring to the mid 80s estrangement of their two writers as ‘World War III’, with in the blue corner Mick cheesed off that Keef gets all the plaudits for doing the least work and not taking his fair share of responsibility, while in the red corner Keef is laughing his head off at his old colleague’s dreams of becoming ‘respectable’ and hanging out with smart rich friends at parties. The two Stones are going two separate roads even by 1981 and yet there’s nothing either man can do about it: Mick has to wait for his friend to show to get anything done, while Keith is, as yet, too comatose to go his own way. Fans have been rude for many years about Mick Jagger’s first solo album ‘She’s The Boss’ in 1985 (or two Stones album’s time – note the title which leads on from what we’re talking about), looking on it as the record that broke the band up and caused unnecessary grief. But I’m a fan that’s largely sympathetic to it (as long as it means I don’t have to actually listen to it!) as Mick must have longed to do something on his own, without the weight of the Stones on his shoulders and to have something he made more or less on his own credited as such. The fact that the album isn’t even up to the low standards the Stones are setting themselves in the mid-80s suggests that, however much the pair might disagree, Jagger and Richards really do need each other and always have. Of course, there’s always the possibility that the Stones are getting into feminist politics a decade late, but that seems pretty unlikely given the songs that are released on their next album ‘Undercover’ in 1983 (the title of songs like ‘Tie You Up – The Pain Of Love’ ‘Pretty Beat Up’ and ‘She Was Hot’ put paid to that...)

The record starts, naturally enough, with ‘Start Me Up’. For years this song was treated for so many years as the vintage sound of the Stones that it’s hard to come to terms with the fact that its actually a five-year-old outtake, one that got abandoned in a hurry after the band attempted to re-arrange the track as a reggae song (which makes sense in the context of the ‘Black and Blue’ sessions, but not in terms of how obviously the song’s riff harks back to ‘Satisfaction’). The band never quite got it right and soon gave up (the chief problem with the ‘Black and Blue’ album as a whole, which took laziness to new levels despite some good ideas) after ten or more so versions of the song (this is apparently take two). I’ve never heard this song in a reggae version but somehow I don’t think it would go – the riff and the later strutting lyrics are crying out for rock and roll and only a slightly irregular beat in the rhythm section suggests anything else. Signs of inspiration waning are there in the lyrics, which after a strong start turn equating this ‘wild ride’ to ‘freedom’ turns into just another ‘car song’ comparing the narrator’s woman to his favourite motor (and how many of these songs have we covered on this site by now?!) However there’s no doubting either the song’s glorious riff (similar but not the same as past glories) or the performance which is one of the Stones’ strongest – past the 1960s at least – and you wouldn’t know from Mick Jagger’s gritty lead that he’s singing in a different room five years later compared to the rest of the band, so in tune are they. Listen out for a risqué fade out ‘ make a dead man come’, stolen from one of two blues songs; ‘Till The Cows Come Home’ by Lucille Bogan dating from 1935 and way ahead of its time (the Stones still got into mild trouble for using it 46 years on!) or possibly the ‘traditional’ (ie no one admits to writing it!) blues ditty ‘Shave ‘Em Dry’ which would have been well known to blues players in the clubs of the 1960s. After punk and disco on ‘Some Girls’ and ‘Emotional Rescue’ respectively, its great to hear the Stones getting back to their roots and this song deservedly became a top ten hit, the band’s last to date – even if the song is ultimately a cleverly carved illusion, rescued from the bin and given a bit of spit and polish.

‘Hang Fire’ possesses the same breathless sense of energy and passion, but it’s significantly inferior as a song. The song has another fine riff, this time played by Wood and Richards together in the ‘weaving’ style used so often on ‘Some Girls’ (for which this song was originally recorded), but having been recorded as a jamming session rather than a song it’s busy and messy, without the ‘space’ for a vocal that a ‘proper’; song would have had. The lyrics Mick added to complete this song for ‘Tattoo You’ are among his worst, a lament about lazy British workers (or at least that’s what we presume from the line ‘the sweet old country where I come from’) ‘never getting anything done’ which, ironically enough, is as lazy a lyric as you can get. There were loads of songs like this in Thatcher’s Britain in the 1980s, which seems appalling to me given the massive unemployment, welfare cuts and all-round unnecessary poverty. Then, as now, the media were telling a very different story to the reality and backing the Government up in-between small bursts of outrage so many people from other countries got completely the wrong impression – it sounds to me as if this is millionaire Jagger reading the world press from his home as a tax exile in France and America and tut-tutting over his coffee. There is no substance to any of this and the song must surely rank as one of the Stone’s worst, misguided shallow and empty. Not that Jagger is solely to blame for this surprising lack of empathy, Richards commented in publicity for ‘Tattoo You’ that the problems in the UK ‘serve them right’ for the way they’d treated the Stones – eh?! The band were attacked by the establishment, not the public who for the most part stuck by the group through thick and thin. This comment - and this song – shows just how removed from ordinary life the Stones were at this time and, irony of ironies, ‘Hang Fire’ is a lazy song about supposedly lazy people that needs one hell of a lot more work than the band give it here.

‘Slave’ is much better and one of the highlights of the album, its funky, heavier-than-normal riff giving away the fact that it dates from the ‘Black and Blue’ sessions once again. This is another band jam later turned into a song, but much more successful because Mick’s later lyrics (all two verses of them) complement rather than overpower the song, adding in the vocals in short bursts rather than singing oblivious to the backing. Mick picks up on Keith’s intriguing riff too, adding a lyric about a henpecked male desperately trying to escape from his partner’s shadow and – like a close cousin of The Beatles’ I Want You (She’s So Heavy)’ it’s a suffocating, powerful riff looped so it chases its own tail seamlessly without a break in the sound. This is a musical prison with no escape route and all Jagger’s narrator (with harmonies from the rest of the band – a rarity on this album – and a guesting Pete Townshend, who sadly doesn’t add any guitar) can do is hurl himself aimlessly against it, desperate to break free. This song is spun out to some five minutes (seven if you own a CD copy of the album) and doesn’t outstay its welcome at all, adding in a few twists and turns every time it’s win danger of becoming stale. The biggest surprise of these – and the most successful - is a delightful saxophone solo by jazz great Sonny Rollins which squeals and squawks its way through the song’s hypnotising riff. Jagger’s demented screams, ducked low in the mix, then see out the rest of the song behind a particularly aggressive and snarling Richard guitar solo. Given the flimsiness of much of the ‘Black and Blue’ record (where only one song – Melody – is worth your time and even that is a Billy Preston song and vocal, with minimal input from the rest of the band) its amazing this song was never used at the time and had to sit in a drawer for five years before being dusted off for this album. An entertaining experiment, it’s welcome to hear the Stones trying to do something different, even if that idea was born from a jam session with some overdubbed lyrics rather than being designed as a masterpiece from the start.

Alas ‘Little T&A’ is another of Keith Richard’s hopelessly misguided misogynistic songs, the like of which had already cluttered up ‘Emotional Rescue’ and will be the nadir of the next couple of Stones albums too. Sure, we’re used to hearing the Stones be the bad boys of rock, uncaring about their feelings of the women in their song, but what’s more depressing is that this song isn’t a generic rock and roller – it really is Keith’s idea of a love song to the new love of his life Patti Hansen (the pair are still together, in the longest union of Keith’s life). In case you haven’t realised, the title refers to ‘little tits and ass’ and the song goes downhill from there rhyming ‘snitch’ with ‘bitch’ and adding the bad-sex-in-rock-lyrics award with lines like ‘you’ve got my juices pumping baby’. History hasn’t recorded what Patti thought on hearing the track but you doubt she’s have been swept off her feet somehow. That’s a shame because there’s a good song in here somewhere – Keith starts off in the first verse recording what’s around him while he writes in the recording studio (‘The heat’s raiding, the track is fading’) before updating his long list of semi-autobiographical tracks with lines about his new life as a reformed drug outlaw (‘The scars are healing, though the dealers’ still squealing’) which would both have made for a far more interesting song. The melody is pretty fun too, in a retro sort of a way, with the song’s riff the most blatant steal from Chuck Berry the band had come up with for some time. Charlie Watts is particularly at home here and enjoys filling in the ‘spaces’ with dashes of colour and interesting ideas which he simply hasn’t had a chance to on the bottom-heavy Stones’ records for some time. The song could have been worse, though – the backing track for this record was first listed as ‘Bulldog’ during the ‘Emotional Rescue’ sessions...

‘Black Limousine’ is more fun retro grooves from the Stones, this time delving back into their blues heritage with a delightful song about the narrator’s social and economic fall from grace which may or may not be autobiographical (believe it or not the Stones were struggling financially a little bit till this hardly-any-work-needed album got them out of a hole). The trouble with writing about these sorts of a song is that they all sound the same and, frankly, the Ronnie Wood era line-up of this band can’t compare to previous versions recorded by the Brian Jones or Mick Taylor versions of the band. That said, I’d rather hear the (semi)modern Stones stretching themselves than repeating their old rock and roll styles and ‘Limousine’ has two things going for it; a superb adrenalin rush guitar solo from Richards and better than average lyrics. Unusually for the Stones the narrator lets his guard slip, admitting that he’s ‘scared’ to see people living off the streets and knows that he might well have been there himself if not for a ‘crazy dream’ of success. There’s a sign of the old Jagger showing at the end of the second verse, though, spotting a familiar face in the crowd, ‘washed up’ and ‘wrecked out’ and laughing ‘look at our face baby – look at you now look at me!’ This might be simply Jagger writing in character, but there’s a grain of truth about his old partner Marianne Faithful who was in the process of making a comeback when this album was released after years living homeless on the streets of London. It’s tempting to see this whole song as Jagger singing to his old beau, perhaps spying her in the crowds on a rare trip back to the UK, which gives this song’s lyrics some real emotional depth (‘Those dreams are gone baby, locked away and never seen’ Jagger purrs, almost sympathetically, at the end of the song). The song was actually recorded for ‘Some Girls’ and may well have been left off the album because stylistically it sounded so different to their other ‘punkish’ songs; that’s a shame because the band were clearly quite fond of it, this being the only song bar ‘Start Me Up’ and ‘Waiting On A Friend’ to make it into the band’s set lists. Note the rare credit to Ronnie Wood in the album credits, one of only three in his career as a Stone so far. Another of the album highlights.

Most fans dislike side one closer ‘Neighbours’, seeing it as a noisy, unsubtle blast of new wave rock that the band couldn’t do anything like as well as their younger rivals. I see it as simply a bit of fun on the only new song recorded for the album with the whole band playing live in the studio (note how littler guitar there is on this track by the way – just how poorly was Keef in this period?) Watts’ drumming is again top notch, more basic and angrier than normal while Jagger’s demented vocal is a delight and clearly relishing the idea of singing lighter and emptier lyrics than average (the song is simply a moan about having noisy neighbours – yeah, like you guys aren’t!) Legend has it that this song was written by Mick about Keef after he was ‘evicted’ by his Manhattan neighbours for making too much noise! If so then it’s one long hilarious in-joke, with Mick hinting at the distance growing daily between the pair by taking on the ‘role’ of one of Keith’s neighbours but also showing up the hypocrisy of small town rich people by making every bit as much as noise and mayhem himself. The second verse is particularly telling: the narrator moans about ‘screaming young babies’ who can hardly help the noise they make, before covering the noise up with ‘TVs and saxophone playing’, seemingly not realising he’s making the situation worse! Mick then becomes piously tongue-in-cheek, imploring his audience to ‘do upon strangers, do upon neighbours what you’d do to yourself’ – yeah right, Jagger! A noisy bit of comedy, this song divides fans like few other Stones songs but if you approach ‘Neighbours’ in the right spirit – and realise its no ‘Satisfaction’ never mind another ‘You Can’t Always Get What You Want – then you have to admire its cheek and laugh at its jokes!

Side two is the album’s ‘ballads’ side and opens in fine form with ‘Worried About You’, the third Stones song to feature Jagger’s falsetto vocal (after ‘Fool To Cry’ and ‘Emotional Rescue’) but by far the best. Another outtake from ‘Black and Blue’ (and another outtake superior to anything on its parent album), this song finds Jagger apparently worried about what his loved one is up to when he’s not around, but the opening verse and the falsetto fragile vocal isn’t fooling anyone; this is a hardened narrator more worried about himself than her. Even with that in mind, however, this song is still quite a breakthrough for the Stones as songwriters as it repeats how ‘worried’ and ‘lost’ the narrator is, unsure what his partner is up to (in 99% of Stones songs its them messing around, not their partners). A sensitive keyboard part, presumably by Billy Preston given the style and vintage though he goers un-credited, underpins a more sensitive song than usual and the switch when Jagger drops his falsetto act and suddenly charges full steam ahead into the chorus is one of the most exciting moments on any Stones album. The guitar solo in the song could be by just about anyone, to be honest, given that this song comes from the ‘auditioning’ process that was ‘Black and Blue’ but sounds like Wayne Perkins’ other work on that album as opposed to Wood, Richards, Taylor or the ‘other’ guitarist being tries out for the band’s sound Harvey Mendel. Sonically brighter and more fluid than any other solo heard since Mick Taylor left the band, it shows what a fine new direction the Stones might have gone in with Perkins a full time member rather than Wood. Listen out too for Richards’ fine harmony work, sorely missing from the rest of this album but a great contrast with Jagger’s harder edged lead.

‘Tops’ features Mick Taylor on lead guitar and is one of the two ‘oldest’ songs on the album, dating back to ‘Goat’s Head Soup’. It’s a simple story of a director promising an impressionable young girl that ‘I’m going to make you a star’ before revealing that he has much more ‘earthly matters on his mind. Another strong song, it’s hard to believe the band should have overlooked it for so many years whilst releasing such inferior work, although its walking pace tempo and occasionally annoying high pitched backing vocals don’t really suit the Stones it has to be said. Still, this song has a pretty tune, one that’s a little more complex than normal for the Stones and seems to come in three parts, building up tension slowly instead of going straight for the jugular. The lyrics might not be the finest Jagger ever wrote and perhaps repeat the line ‘I’ll take you to the top’ too many times, but they have their moments too, generally with the listener themselves filling in the blanks: for every promise about ‘putting her on a pedestal’ we ourselves look down on the narrator and the lines about ‘we don’t need no casting couch’, seemingly innocent, are surely about the fact the narrator wants to get his ‘star’ into a bed instead. Jagger’s vocal is a welcome mix of innocent and knowing, never quite pinning his take on the song down to one or the other and leaving us ashamed in places that we’re thinking these unsightly thoughts when all he wants to do is make a talented actress a success. The lyrics tread a thin line throughout, ending with the fantastic pay-off ‘You better take your chance now, sugar, or be sorry for the rest of your sweet loving life’ – after all, who could refuse an offer like that from a Stone?

However the greatest moment on the album is surely ‘Heaven’. Only the second entirely new song specially written or the album, it features Jagger’s guitar, Bill Wyman’s clever bass, engineer Chris Kemsey adding some twinkling piano and some light taps from Charlie Watts – both Richards and Wood are absent, but the sound is so huger it sounds like an orchestra. Some elegant and sophisticated studio trickery gives the whole song a fascinating, ethereal quality as if the whole track is about to float away on a cloud, and Jagger’s impressionistic lyrics (which are more a collection of words rather than a traditional song) make the most of his lovely melody. Jagger’s guitar work is the star of this record, surging up in bursts of emotion and power and dressed in so much reverb it sounds like a whole new instrument. However his vocal is revelation too, after so many decades of hearing him barking his lyrics, gossamer light and delicate, mysterious rather than powerful and loud, alluring rather than straightforward and strutting. This vocal suits a song that lyrically is more of a series of impressions, with Jagger using all of his ‘senses’ to tell if this is love and getting the affirmative from each one. The key line often repeated in this song is ‘kissing and running away’, repeated like a mantra of life with love there for those prepared to do the running, but the most effective are the unusually sensitive ‘no one will harm you, nothing will stand in your way’, with Jagger sounding like some mystical guardian angel. Like the best songs on ‘Goat’s Head Soup’ this is a spaced out dreamy ballad created out of the simplest pieces imaginable (Jagger never does get much of a lyric in) but treated to sound epic and huge. Jagger often gets short shrift these days, next to the outlaw giant that is Keith Richards, the larger-than-life character of Ronnie Wood or the tabloid favourite Bill Wyman. But even though so many fans think Richards is the real talent and the ‘heartbeat’ within the band, its interesting how many great tracks Jagger wrote while Keef wasn’t there; sensitive, groundbreaking, stylistically adventurous and a million miles away from anything people expected of the Stones in 1981 ‘Heaven’ may well be Jagger’s greatest moment with the band, proof positive of his musical talent.

‘No Use In Crying’ is another strong song from ‘Tattoo You’s generally excellent second side and is another ‘Black and Blue’ outtake that shows a great deal more subtlety and invention than anything that made the record. In fact ‘Crying’ is probably unique in the Stones’ canon in that it tells a whole story without any boasting or autobiographical touches. The narrator is calling out to an old partner to let him go, to not think of him any more, imagining her first pausing in her kitchen to stare out the window, imagining him coming back to her, a second at a station imagining him on a train pulling up on the track and a third on a balcony ‘staring out at sea’. Of course the joke is we don’t really know what she’s thinking at all and the fact that the narrator is going to so much trouble thinking of her speaks volumes about his inability to let her go. If this song is a 1981 lyrical invention then it’s another rare case of Jagger showing his more vulnerable side and that makes for a much more interesting character than his usual bravado image. The song has several neat touches, from a group harmony that intones the line ‘Ain’t no use in crying, stay away from me’ like a Greek chorus throughout the song, and Jagger’s emotional plea that the ship that’s coming on the horizon ‘its not me, it’s not me’. Compared to the very best songs on this album, however, it’s probably fair to say there’s something missing here, some extra middle eight or some variation in tempo that might have made a good song great.
Tattoo You then ends with its second best known song, the minor hit ‘Waiting On A Friend’. This song started out life as an instrumental during the ‘Goat’s Head Soup’ record before having a new set of lyrics penned by Mick in 1981. Like the other songs on this record’s second side, it’s a surprisingly warm and tender song about an old friendship – one that’s been assumed by many fans as being about the Stones themselves (‘at least that’s what I think it was about!’ adds Mick in the liner notes to the band’s ‘Jump Back’ compilation). Given how bad things were becoming between Mick and Keef it’s nice to hear him be so warm to his old partner, even if the lyrics are more about what he’s not doing than what he is. However some of the lyrics which deal with the friend suffering some ‘tragedy’ or other appear to relate more to Brian Jones or even Mick Taylor more than they relate to Keef (‘A smile relieves a heart that grieves’) so I’m going to speculate here that the ‘friend’ Mick is waiting for is actually the former and that he’s never going to show. Listening back to old tapes of the band in session from the past ten years or so (a common enough thing now but so rare for a band still together back then) must have given cause towards thoughts of Brian and what he might have added to the band if he’d stayed with them (ditto Taylor; presumably the band didn’t go back further in the tape vaults as Allen Klein still owned the copyright of tracks up to 1971). However, this is clearly Jagger in the present, mentioning middle age in song for the first time ever on a Stones record (‘making love and breaking hearts is a game for youth’), perhaps taking a minute to acknowledge those lost on the way. Lovely as the track is, however, and deserving as it was as a single (with a lovely video where Keef comes by at the end to put a patient Mick out of his misery) its not quite up to the strongest songs on the album. Sonny Rollins’ second sax break on the album is not as good as his first, while the song sticks far too rigidly to its one chord riff, without the freedom to explore where this song could have been. Not that this is song is a travesty either – its just one of the few songs here you can believe is made up out of off-cuts recorded ten years apart.
Indeed, the greatest achievement about ‘Tattoo You’ is that it manages to sound like a fully unified album, one made by a band on cracking form in a handful of inspired sessions, not a protracted monster that it come cases took eight years to reach maturity. Given the paucity of many of the Stones albums in this period (‘Black and Blue’ and ‘Emotional Rescue’ are probably the band’s weakest ever efforts, along with 1986’s ‘Dirty Work’), it’s amazing that the outtakes are so much better, with even the songs abandoned during the excellent albums ‘Goat’s Head Soup’ and ‘Some Girls’ able to give the better tracks on those albums a run for their money. Overall, ‘Tattoo You’ works because despite the poor cover and title this record seems like so much more than the sloppy last-minute we-need-a-record-quickly cut and paste job it really is. Kemsey’s ability to unearth some real gems from the band’s back catalogue, the idea of sequencing the album into ‘rock’ and ‘ballad’ sides, the production surface sheen that makes the album sound as one across the board not a bunch of songs cut in different countries on different studios with different atmospheres and sounds and Jagger’s hard work in crafting new lyrics pays off handsomely. Ironically the two new songs here suggest that the band might well have come up with a great new album anyway given time, sounding more inspired and inventive than they had for some time anyway. Perhaps it was best that the Stones stuck to their outtakes, however, as its the sheer mixture of sounds and ideas from a decade of Stones history that makes this record as strong as it is, sounding like some alternate ‘greatest hits’ compilation where the band’s best work from different eras all intermingle together. The Stones should be justly proud, not only at the fact that they were still making great music in their 29th year but that they could create one of their better albums by barely having to lift a finger. How many other bands have tried to do just that and come a cropper?! In the end only two misjudged tracks on the album’s first side let the rating down – substitute the other prime outtakes mentioned earlier that have trickled out on other Stones re-issues in the years since 1981 and you have what could have been the greatest Stones LP of all. Overall rating: ♫♫♫♫♫♫♫ (7/10).

'Rolling Stones'

'Between The Buttons'

'Their Satanic Majesties Request'

'Beggar's Banquet'

'Sticky Fingers'

'Exile On Main Street'

'Goat's Head Soup'

'Some Girls'

'Steel Wheels'

The Greatest AAA Drum Solos (Or Near Solos!): News, Views and Music Issue 171 Top Ten

Everyone in the AAA house please make some noise for this week’s top ten: a run-down of AAA drummers and their solos. Keen music watchers will know that, while lesser spotted than the guitar or keyboard solo, the heavy rumble of a properly played drum solo is easy to spot and is often the most exciting part of the record. Not every group has them and few groups use them all the time (take a bow Keith Moon!) but enough AAA drummers have had a go at recording a drum solo – or something very close to it (vocal/drum duets are allowed) for us to include a top 10 of them. In the interests of fairness we’ve restricted appearance on this list to once per drummer – please note that our two Who appearances on this list feature different drummers! Rather than go for the safe alphabetical/chronological options we’ve gone for naming and shaming our favourite down to our least favourite moments. Right, now that’s done, a drum roll please...

1) Bobby Elliott (The Hollies) “Survival Of The Fittest” (‘Confessions Of The Mind’ 1970)

The last ever Clarke-Hicks-Nash song to appear on a Hollies album, this spiffing song about the pressures of fame and the shabbiness of tinseltown mythology inspires perhaps the single greatest Hollies performance. The harmonies are in full stride, Tony Hicks’ guitar is powerful and loud, but underpinning it all is Bobby Elliott’s inspired jazzy drum licks and quickstep rat-tat-tats. In the middle eight of the song the players and singers all drop out leaving 20 seconds or so of what we rate as the greatest drum solo of all time. Bobby gradually moves further and durther out of the song’s main riff, going for an exploratory look round his full drum kit while doubling with a cowbell rhythmically ticking down the seconds. The sheer power of his last drum fill, which somehow staggers through the back door back to the song’s main riff, is a masterpiece of precision, power and timing. Sadly Bobby never gets a true drum solo on a Hollies record again – fans salivated over the news that a piece named ‘Bobby’s Solo’ had been spotted on a Hollies sessionography, but it turns out that it’s just the drummer reading out some poetry. Boo!

2) Keith Moon (The Who) “Won’t Get Fooled Again” (‘Who’s Next’ 1971)

Almost every Who song is a near-drum instrumental, with Keith filling up the band’s ‘power trio’ sound so much that his work is often quoted as being the ‘lead instrument’ in the band. Some critics say he’s really a sloppy drummer but they’re wrong – Keith doesn’t just hit the notes wildly, he hits all the right ones every other drummer hits, but twice as fast and with several passing notes in between. However real solos are actually remarkably few and far between – the closest we could come up with was a TV-broadcast version of ‘So Sad About Us’ (as featured in the ‘30 Years Of Maximum R and B’ DVD) and the middle (well, two thirds in to be picky) instrumental break during one of the band’s most famous songs. A paean to the downtrodden and misled, generation after generation, this sterling Pete Townshend song inspires a great performance by the whole band, especially Moon’s rush of energy before Roger Daltrey kicks back into the final verse screaming his lungs out. A slow charge suddenly builds up a head of steam, is pummelled to the floor and finally lets go all the tension of the previous (gulp) six minutes in an exhilarating moment of free-form playing. Incidentally, if you own the Who ‘Kids Are Alright’ DVD set and haven’t checked out the extras yet have a watch of the ‘Moon Cam’ and see how busy and energetic Keith’s part on a 1978 live version of this song and ‘Baba O’Riley’ are, even with Keith already very ill after years of wine, women, drugs and TV sets thrown out of windows and playing his last show with the band.

3) Bill Kreutzmann and Micky Hart (Grateful Dead) “That’s It For The Other One” (‘Anthem Of The Sun’ 1968)

A bit of a cheat in that the Dead in this period used two drummers, who in Jerry Garcia’s words are ‘the serpent that chases its own tail’, following, echoing and inspiring each other rather than playing straight duets. I love this 1968-71 period of the Dead mainly than any other, partly because of the brilliant songs in this period but partly also because of having the two drummers working together to inspire the best in each other. Of all the drummers on this list Kreutzmann is one of the most capable but also one of the most generous – few bands can manage two drummers properly because they fight over control of a band’s sound, especially after several years playing alone. But the pair have a spooky telepathy together, both in their notorious ‘drums’ battles heard in most Dead concerts and in songs like this one, a rambling flowing tale of, well, everything (‘getting psychedelic’ is the best description I’ve read). Garcia’s opening is all about fate and mortality, Bob Weir’s middle is about escapism and adventure and in between we have a marvellous example of the band’s drummer interplay, tearing this way and that and linking these two sections between the known and the unknown. All of human life is contained within this song and the rush of energy in the drum parts is a perfect microcosm of coming to terms with the two sides of human nature. Well, that and the fact these two guys whack a piece of skin tied over plastic really really well.

4) Nick Mason (Pink Floyd) “One Of These Days” (‘Meddle’ 1971)

I was a little stuck which of Mason’s mini drum outbreaks to go for, especially as I admire his looser, more psychedelic (read ‘improvised’) playing in the Syd Barrett years most of all. But I’ve always felt that, to some extent, Mason was wasted in such a thoughtful, ponderous, controlled band – his real mettle comes in the few chances the Floyd have to let down their hair and play straight forward rock and roll. Mason’s power is his main role in the band and his playing on perhaps the greatest of all Floyd rock and roll songs is extraordinary: leaping and attacking everything that moves throughout half the song and dropping back to build up tension in the other. The studio version as heard on ‘Meddle’ is impressive indeed, but check out the ‘Live at Pompeii’ DVD for Mason at his best, dominating the band sound like never before (it helps that the director for the film lost half of his footage in transit and only had film of the drummer and a little bit of guitarist David Gilmour to include in the finished version!)

5) Mick Avory (The Kinks) “She’s Bought A Hat Like Princess Marina” (‘Arthur’ 1969)

Let’s remember, Mick Avory was a straightforward rock and roll drummer who was one of the most in demand rock drummers in London in the early 60s (he played with the Stones for a spell too). He wasn’t built for Ray Davies’ more pastoral, more English, more – well – eccentric songs such as this, a music hall spoof of a working class fooled into buying hats to be like the rich, even though that means they can’t afford food. The rest of the band – of any period in Kinks history – often struggle with Ray’s weirdest material, but Avory was always there, playing at his best (till he left the band in 1985 at least). This song is basically a duet for kazoo and drums, with a bit of fiery vocals over the top, and Avory never gets this space for his playing again, absolutely letting fly on the conclusion with a noisy drum battle between himself that sounds particularly great on headphones. ‘Arthur’ is Mick;s greatest moment as a drummer (his double-tracked playing on ‘Mr Churchill Say’s is another special AAA moment), but this solo – encompassing the sarcasm, the empathy and the frustration in this song – wins by a nose.

6) Gene Parsons (The Byrds) “Fido” (‘The Ballad Of Easy Rider’ 1969)

John York wrote this song partly to show off the drumming skills of his new friend Gene Parsons. An excellent banjo player, Parsons played a bit of everything in his youth before winding up as the Byrds’ third drummer and his looser-than-average playing thrills and fails fans in equal measure. Personally I love Parsons’ looser work, much more suited to the band’s rocking style than their country one despite his background in Nashville bands, and this song is as good a rock and roll song as the band ever made. Playing what sounds like glass bottles, Parsons doubles the riff on his bass drum, managing to make his extended solo sound both exotic and powerfully raw at the same time. Whether it fits this song about a dog keeping the narrator up at night is another matter, but I’d rate this burst of energy as perhaps the greatest 10 second moment of the Byrds’ ‘Ballad Of Easy Rider’ album.

7) Kenney Jones (The Who) “Cry If You Want” (‘It’s Hard’ 1982)

I always felt that Small Faces drummer Jones got a raw deal when he joined The Who as Keith Moon’s replacement in 1979. Like Keith, he’s raw aznd wild, but with an inner discipline which means he still hits all the right notes other drummers do (along with a few extra!) His time in the band co-incided with Pete Townshend’s biggest insecurity and some pretty weak (by Who standards) songs , but his playing is ever so nearly as good as Moon’s (as close as any drummer alive can ever get anyway). The closest Kenney ever came to a solo in his Small Faces days was the instrumental title track of ‘Ogden’s Nut Gone Flake’ – this Who performance wins by a nose thanks to some tight rat-a-tat military drumming and an ability to break out of the tight, controlled space at just the right times. A scathing self-loathing song from Townshend, its highlighted by a middle eight calling for the narrator to let his emotions go, sounding like an addiction self-help group mantra and makes for a loud and powerful, though uncomfortable, last track on a last final Who album (for some 24 years at least!)

8) Micky Dolenz (The Monkees) “Randy Scouse Git” (‘Headquarters’ 1967)

By his own admission, Micky was an actor playing the part of a rock and roll drummer and was so wayward a player on the band’s studio session that the others soon got tired and brought in a professional session musicians to play (I was always surprised Davy wasn’t made the drummer, given his strong sense of timing with the tambourine, which is often used instead of Micky’s drumming on the Monkees’ middle period work). Still, Dolenz – already an accomplished guitarist, had a good feel and style all of his own and excelled on his own work where he left himself more space to play around and experiment with his sounds and styles. The kettle drum sound in the beginning, middle and end of ‘Randy Scouse Git’ (better known in the UK as ‘Alternate Title’ after the name got banned by the BBC) is wild and furious, the rumble unsettling and signifying something new and dangerous, something that’s doubled up in the song’s hazy menace and surreal images of Dolenz’s trip to England. Basic it may be, but few players would have had the imagination to come up with such a part, which is so integral to one of The Monkees’ better songs.

9) Ringo (The Beatles) “The End” (‘Abbey Road’ 1969)

I must admit I’m not a big fan of Ringo’s playing (come back Pete Best!) who only really comes alive on a couple of the more impassioned Lennon songs like ‘Rain’ ‘A Day In The Life’ and ‘She Said She Said’. Sadly none of those songs really have the drumming central to the song so what we’re left with is the rather tentative and basic solo towards the end of the infamous Abbey Road medley. Figuring that the three guitarists in the band (in order George, John and Paul) had been given their own instrumental part at the beginning of ‘The End’, Paul kept pleading and cajoling Ringo to record his first drum solo for the band and give himself a moment to shine. The guitarists all shine using their different personalities to infuse their playing, but for these ears Ringo’s playing really lets the side down, so cautious and inexpressive you don’t really get any feeling of personality or particular skill. Much better are McCartney’s solo live versions of this track, which feature respectively Chris Whitten, Blair Cunningham or Abe Lorial Jnr (depending on whether you’re listening to Macca’s 1989-90, 1993 or 2001-date tours).

10) Dennis Wilson (The Beach Boys) “Denny’s Drums” (‘Shut Down Volume 2’ 1964)

Even worse, however, is this bit of ‘filler’ from the Beach Boys, who are so desperate to make up their four-albums-a-year allowance dictated by record label Capitol that they let Dennis Wilson have a go at his own drum solo. In Dennis words, ‘I’m a clubber, not a drummer’ and Dennis only ever learnt to play so that he could get in on the interest girls were showing in brother Brian on stage in the band’s early days and his playing remains shaky to the end (surprisingly for one so musically gifted in other ways – his piano playing, for instance, is warm and patient across his solo work, a world away from the wild thrash on display here). Unfortunately Dennis’ playing here sounds like exactly what it is – a feisty attempt to play by a beginner – rather than evidence of real talent or skill like the drummers at the top of our list. How typical then – the one AAA song that really is an undiluted drum solo and it’s from the drummer who, by his own admission, was probably the least talented percussionist on this list!

That’s all for another week. Join us soon for more news, views and music at the AAA!