Tag Archives: Bill Lloyd

Ramblerin’ Gamblerin’ Man

It’s never a bad day to pimp Ben Vaughn.

Fourteen years ago this Friday, I felt the same way. Lots of people were going the indie route and recording in their home studio. Not many were doing it in their car. (Recording, I mean…I’m sure lots of people were “doing it” in a car. Some things never change.)

Here we go, from April Fools’ Day in 1997, and I was most certainly not pulling anyone’s leg. Still not. Get your Vaughn on.

If it sounds good in a car, why not record it in a car?” – Ben Vaughn, 1996

Probably the only people not shocked to hear that Ben Vaughn recorded his new CD inside his 1965 Rambler American (“the Fender Telecaster of cars“, says Ben) are his fans; they know that Ben is capable of just about anything. So what to do after less accessible side projects like Cubist Blues (recorded with Alex Chilton and Alan Vega) and the pairing with Kim Fowley? Vaughn uses his zaniest concept to date to create his best record since Dressed In Black.

Two songs are co-written with Bill Lloyd, and they’re both killer. The opening track “7 Days Without Love” rocks, complete with feet slapping on the car’s floorboard. “Boomerang” combines Vaughn’s megaphone-induced vocal with an instrumental punch straight out of the Sir Douglas Quintet. (I’d believe they were actually on the track but I know he couldn’t have fit them in the car). “Rock is Dead” is an example of Vaughn’s wit, an ode to the future when there’s “a blank space on your TV/where the music channel used to be” and “abandoned tour buses scattered across the hills“.

Outside of the sitar solo on “Levitation”, the stripped-down arrangements force Vaughn’s songs to be judged on their own merits. One listen to a simple melody like “Song For You” and those who are not Ben fans may be quickly converted. A Vaughn album is always a mix of surf, pop, country, rockabilly and anything else he can get his hands on. Rambler 65 is no different, with pop oddities like “Perpetual Motion Machine” (suggesting his work for TV’s “Third Rock From The Sun“) countered with bluesy wisps like “Beautiful Self Destruction”. An actual Rambler ad is even tossed in just to keep you honest.

Vaughn claims he was able to record the record in six afternoons because “everything was a first take because I just wanted to get the hell out of the car!” Cramming a small mixing board, effects pedals, a turntable, mikes and a reel-to-reel inside a car with the windows rolled up is about as intimate as you can get. And while recording in a car has other drawbacks besides leg room, Vaughn made the best of them. With airplanes flying overhead every so often, he finally gave up avoiding them and included one as the intro to “The Only Way To Fly”. Typical Vaughn, using whatever is necessary to deliver the goods, and it works.

And yes, there’s an engine solo

Ramblerin' Gamblerin' Man?

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Tributes

I got a couple of emails from readers of yesterday’s post who were loving the Beatles cover comp and asking about tributes, since I’m on record as an obsessive fan of such efforts. On more than one occasion I’ve made my mixtape entry a covers collection (even pilfering a Replacements track title – I’LL BE YOU – for one of the more recent efforts) and I always love when I get them in return. (I’ll have to dig up that comp and post it here in the near future.)

I’ve found that the best ones are usually from independent projects on small labels where the scope will go outside the artist roster. By licensing tracks from other worthy bands that would appeal to the same audience as the internal ringers, the label is saying “we are putting the project first” rather than “this is a cheesey effort to get even the crappiest band on my roster some attention“. Frankly few of these get airplay anyway, so those weaker efforts just wind up in the band’s garage where they belong.

The major labels often blow it as well; too often their efforts wind up using big name artists that have no clue. Of course, with their overhead mapped against the unlikely hit potential, these are not frequent releases. But like the tiny labels trying to build around one good band with filler, the big boys have proven that they’re equally adept at creating a PLE (painful listening experience).

A list of the greatest tribute albums ever deserves more time and thought than I have to spare right now, but I do want to float out a couple of my favorites as well as clue you in to a little known collection assembled by a fellow blogger. These aren’t necessarily the five best, although my favorite tribute ever is included. 

Winner and still champion

Winner and still champion

SING HOLLIES IN REVERSE (eggBert): A majestic collection of power-pop artists including Bill Lloyd, Jon Brion, The Wondermints, Mitch Easter, Tommy Keene and Material Issue. Compiled by the late Greg Dwinnell, this was an all-hits no-misses effort where even the artwork and liner notes were first rate. Greg’s eggBert label also issued a wonderful Bee Gees tribute called MELODY FAIR that was almost as good.

Kovering the Klassics

Kovering the Klassics

THIS IS WHERE I BELONG (Rykodisc): Steve Forbert, Jonathan Richman, Bill Lloyd (the KING of tribute album appearances), Fastball, Fountains of Wayne, Cracker, Minus 5…a solid list of great commercial bands drawing from one of the Koolest Katalogues around. A little better than GIVE THE PEOPLE WHAT THEY WANT, which was released around the same time, although “Ring The Bells” by The Model Rockets from the latter might be the best cut of all. (If you can find a copy of SHANGRI-LA on Communion Records, that’s also highly recommended! (Note – if you listen to the Amazon clips, realize that the matchup of artist and song is incorrect).

Whipped Gum and Other Delights

Whipped Gum and Other Delights

RIGHT TO CHEWS (Not Lame): For the bubblegum pop listener in all of us, Not Lame’s impeccable release was complied by John Borack (longtime reviewer and author of Shake Some Action) and features some of the best artists in the current power-pop scene.  Great takes on The 1910 Fruitgum Company, The Ohio Express and Tommy Rowe by Michael Carpenter (genius) , Walter Clevenger (ditto), The Lolas and others. Not Lame has released several great tribute albums for artists as diverse as Gene Clark, Jeff Lynne/ELO and The Cars, among others; every one of them has several chestnuts worth roasting.

Bone Up on these great covers

Bone Up on these great covers

While you’re waiting foa any of the above to arrive in the mail, why not enjoy a great tribute mix right now? Angelo from Power Pop Criminals assembled these brilliant cover comps that are available as free downloads. And on that same page, the excellent rarity and out-of-print Bobby Fuller Four tribute OUR FAVORITE TEXAN.

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