Big Star Third, Revisited

SONGS/PERFORMERS

1.  “Kizza Me”                     MATT MCMICHAELS (from Mayflies USA)
2.  “O Dana”                        IRA KAPLAN  (Yo La Tengo)   
3.  “For You”                        JODY STEPHENS (Big Star)
4.  “Nighttime”                     NORMAN BLAKE (Teenage Fanclub)
5.  “Jesus Christ”                MIKE MILLS (R.E.M.)  
6.  “Take Care”                    IRA KAPLAN    (Yo La Tengo)                                
7.  “Big Black Car”               MATTHEW SWEET
8.  “Stroke It, Noel”              NORMAN BLAKE  (Teenage Fanclub)
9.  “Blue Moon”                    JODY STEPHENS  (Big Star)
10. “Femme Fatale”            SINGER NOT CONFIRMED
11. “Downs”                        VARIOUS  
12. “Dream Lover”              TIFT MERRITT  
13. “Holocaust”                    DJANGO HASKINS (The Old Ceremony”     
14. “You Can’t Have Me”     TIFT MERRITT
15. “Kanga Roo”                 MICHAEL STIPE  (R.E.M.)
16. “Thank You, Friends”    VARIOUS

Plus a rich encore list featuring the above plus Brett Harris and Fan Modine…

Um…do I really need to add more? Go, whydoncha?

Mixtape: Vinyl Devotion

I put this mixtape together many many years ago for a tape tree on the Audities mailing list. I look at mixtapes as something to be taken in one sitting, ideally something slapped in for a car trip where the flow of the music is the center of attention, like I’ve got one shot to program an hour on the radio to win you over. So I started going through my vinyl alphabetically; just vinyl albums – no singles, CDs, or cassettes.

Remember mixtapes? Remember vinyl?

As the people I was trading with have pretty deep roots, I avoided the obvious (ie Beatles, Big Star, Cheap Trick, etc) and went for other songs that stir my stewpot. By the time I got through the “D”s, I easily had twice as much as I needed, and that wasn’t even taking into account the 3-400 albums that were in the “to be filed” pile.

But I came up with a beauty filled with great bands and great songs. I’ve included the original track-by-track annotations that I used for Vinyl Devotion’s liner notes, and since this was in the mid 90s, some of the references will be out of date. But the music is timeless – not a tune that doesn’t stand up today.  Mixtapes were a labor of love; even the needle dropping at the start of side A was intentional.

Side A

01 THE BOYS – “First Time Out”
Since you need something to get you out of the driveway, why not something young, loud and snotty? This was quintessential New Wave pop punk. Billy Joe of Green Day probably has a Boys lunchbox. (LINK TO A LIVE VERSION)

02 THE ATLANTICS – “One Last Night”
If INXS were cool and they grew up on 50’s and 60’s American radio, they’d sound like this. But they weren’t, andthey didn’t, and they don’t. Singer’s a bit of a crooner, but it’s a cool song nevertheless.

03 DANCING HOODS – “She May Call You Up Tonight”
Yep, the Left Banke song. I think this version is better. I loved this band but Relativity sank like a stone and these guys with them. The singer, Bob Bortnick, is now in A&R and Mark Linkous is in Sparklehorse. Too bad.

04 THE dBs – “Working For Somebody Else”
So why does everyone hate THE SOUND OF MUSIC? I think the Holsapple era is great. This is almost Chilton-ish rock – the harmonica solo, ringing phone, and the great way Peter pronounces the word “car-REEEP”.

05 THE BEAT FARMERS – “Ridin”
God Bless the late Country Dick Montana,who was Keith Richards in chaps. The BEAT FARMERS were the best bar band ever and always kicked your ass from wall to wall. This Joey Harris tune is a nice taste. R.I.P. fellas! (LINK TO A LIVE VERSION)

06 THE ACCELERATORS – “Two Girls In Love”
Another great band no one knows, what is it about that water in North Carolina? This band rules, but they only put out a record every five years; tho I heard they just re-formed. I love the drum sound on this song.

07 BEAT RODEO – “Just Friends”
Slowing it down, this Don Dixon/Mitch Easter production is anything but twee. Despite the cow name it’s just pure pop after all. Saw these guys live and they were absolutely wonderful. I miss songs like this.

08 DON DIXON – “Your Sister Told Me”
I’m convinced that if Motown were in North Carolina, Dixon would be Holland, Dozier and Holland. One of the many on my “how can this guy/band not be friggin’ HUGE?” list. And my hat tip to The Woods, his roots. (LINK TO A STUDIO VERSION)

09 BILLY BREMNER – “When These Shoes Were New”
The true M.V.P. of Rockpile. From the lp BASH which only his parents and I bought. Will Birch co-wrote and produced most of the songs, and it’s wall-to-wall great. I want to play piano like the guy on this track.

10 ANY TROUBLE – “The Trouble With Love”
Clive Gregson just didn’t fit in that New Wave movement, but his band put out five killer records with great songs like this. You may know his records and gigs with Christine Collister and their gigs with Richard Thompson

11 THE A’s – “Heart Of America”
From Philly, natch – is this one of the ten best rock and roll songs ever made? Mott The Hoople meets Elvis Costello and drop the gloves. Killer guitars, horn section, and the one of the most unusual solos in rock history.

12 THE CRETONES – “Real Love”
When Linda Ronstadt “went punk” that year she butchered “Alison” and two of this band’s songs; “Mad Love” is the other. This is pretty mainstream, but fun when you realize there isn’t a female voice on the record.

13 THE DUROCS – “Saving It All Up For Larry”
Try this: Brian Wilson goes sandbox, but instead of Stamos and Johnston the Beach Boys sign up Flo, Eddie, Zappa and Todd. Actually it’s Nagle and Matthews, right around the time they produced John Hiatt. Great, great record! (LINK TO VIDEO VERSION)

Side B

01 JOHN CALE – “Guts”
From the album that even Cale-haters like. Uses the words “parrot shit” and “hyperbole” in the same verse. Top that, Lou Reed! This record is known for a suicide-inducing drone version of “Heartbreak Hotel”

02 THE CRUZADOS – “Motorcycle Girl”
Tito and the boys cooking up East L.A. spunk in the days before they hooked up for gigs as Bob Dylan’s band. Bassist Tony Marsico is now with Matthew Sweet.

03 HERMAN BROOD – “Sleepin’ Bird”
My favorite Dutch ex-junkie porn star rock god, and the best rock and roll band in the world. He’s a famous painter now. Had an American hit with “Saturday Night” in 1978 but put out several searing records in Holland. Yowza! (LINK TO A LIVE VERSION)

04 THE DRONGOS – “Overnight Bag”
Life before Crowded House in New Zealand. What a great guitar player! I wouldn’t try to make love to this song; it’s better suited for popping popcorn! Went to see them one night only to find out they broke up that afternoon.

05 THE DIRTY ANGELS – “Call My Name”
Remember in 1979/80 when everybody got signed and dressed in pastels on album covers? Well, DA had nude mannequins with missing appendages. Ah, so what. But I know the name David Hull from elsewhere.

06 THE DICTATORS – “Heartache”
Scott “Top Ten” Kempner and Andy Shernoff both could write big hooks, but the underwater production buried them. Too bad. When you got past Ross The Boss’ guitar god act, these guys had some great songs!

07 CITY BOY – “I’ve Been Spun”
Jellyfish, eat your heart out. These guys could really rock, too, but were known for the unbelievable vocal harmonies. The guitar player, Mike Slamer, makes me grab the air guitar frequently over six records.

08 BLUEBELLS – “Everybody’s Somebody’s Fool”
No, not the Dean Martin song. You may remember “Cath” or “Syracuse University”, but I always liked this the best. One of those “why isn’t this on CD” records, but frankly most people can’t even find the vinyl!

09 THE DAVE CLARK FIVE – “Because”
Because after 33 years it’s still great. Because Gary Frenay and Artie Lenin played it at my wedding and people were breaking out in tears. Because it’s my tape. Because.

10 ARTFUL DODGER – “She’s Just My Baby”
Even Artful Dodger fans gave up by this record. While earlier records were like a poppier Rod Stewart; I hear a perfect blend of Dwight Twilley and The Records. Why was this band not a major, major hit? (LINK TO THE PROMO VIDEO)

11 MARSHALL CRENSHAW – “Rave On”
Live cut done at the drop of a hat in a Chicago station. Unbelievable how great he and the guitar sound just by themselves! So far he’s played Lennon in Beatlemania, Holly on film, and made one of the best debut records ever.

12 GARY CHARLSON BAND – “Hey Deanie” & “Go Back”
Another live in the studio gig from an incredible pop guy, these are two of my faves. Bought this based on Bruce Brodeen‘s adjectives (it’s an OLD record). So where is he now? And who the hell was this incredible drummer? (LINK TO A GARY CHARLSON MEDLEY)

13 SHAUN CASSIDY – “So Sad About Us”
Yeah, go ahead and snicker. The backup band is Todd and Utopia, and the whole album could have been called Faithful – Part Two! Messed up Shaun so badly he didn’t resurface for years, and then showed up with “American Gothic”!

 

Blast From The Past: Don Dixon

No, no...thank YOU, sir.

Don Dixon has been a favorite of mine as long as I can remember. I first discovered him after he stepped out from behind his producer’s chair with R.E.M. and Tommy Keene to cut an album of his own, and every release since has been a gleeful pleasure. I love his sandpaper vocals and knack for melody;  “Praying Mantis”, “Southside Girl” and “Your Sister Told Me” are just some of the tunes that became a staple of my mixtapes during the ’80s. And every release since then has been a treasure.

He continued to engineer and produce a who’s who of jangle-pop songwriters and bands, quickly becoming the go-to guy (along with Mitch Easter) for artists like Marshall Crenshaw, Guadalcanal Diary and Matthew Sweet. And his partnership with wife Marti Jones not only elevated her albums to a greater height but their live collaborations (i.e. Chi-Town Budget Show) were magic. But somewhere along the late ’90s, with grunge and hip-hop and teenybop-pop milking what was left of radio, he drifted out of the limelight.

When he “came back” a few years later on Gadfly Records with Invisible Man, I was thrilled. He’s recorded sporadically snce then (his latest releases are available digitally) and continues to be a favorite. Those of you unfamiliar with him are in for a treat (check out his early band Arrogance as well!). Here’s what I penned about Invisible Man for Consumable Online back in 2002…

Thankfully you can hear him

 Invisible Man would be a good nickname for someone whose recording career seemed to slam on the brakes in 1995, but Don Dixon’s production and session work for some of music’s brighter lights has kept him very busy. And it’s not like radio is screaming for a literate, funny writer with a knack for hooks and a raspy but soulful voice. The Invisible Man certainly won’t qualify him for stadium tour status, but it’s a solid collection of songs presented through the guise of a song cycle, albeit a scattered one. Usually thematic pieces are presented in order; but Dixon’s life observations are ordered more by musical structure. What do you want from a producer?

The first three songs are presented from the viewpoint of a man in the prime of his life, and the music is appropriately confident and upbeat. “Invisible & Free” (which you will think is called “Kara” until you look at the track list) is an upbeat song that plays with the lyrics effectively, a typical Dixon maneuver. “Do So Well” is probably the closest to his prior solo work — soulful Southern rock and R&B — while the lively “Tax The Churches” could best be described as Memphis surf music, a kissing cousin to “Praying Mantis.” But two songs later, the stark and frail “All I Wanted” is narrated by an 85 year old man recounting a life of wasted opportunity. The vocal is a drop dead Elvis Costello intonation as a single, rhythmic acoustic guitar ticks away what little time remains.

“Digging A Grave” and “Then I Woke Up” are sung as the ruminations of a man in late middle age, and despite the characters’ mortality questions, are also strong musically. The oddest piece, “High Night For The Tide,” juxtaposes island rhythms and a sound not unlike Mike Oldfield‘s Tubular Bells. The somber island percussion reappears on the closing song “Why Do Children Have To Die?,” whose placement on the record is as odd as its title. I know Dixon is not going for a hit record here, but I’m not sure that’s the taste he wanted to leave in my ear as I depart, either.

Dixon fans may dive into this redemptive opera wholeheartedly, or they may opt to dip in only for the songs that tickle their fancy. If anyone on Americana or (gasp!) pop radio ever hears these tunes, they’ll be one at a time, so buying into the concept won’t be as critical. And that’s vintage Dixon — putting his wares out on that table and letting you find the gems for yourself. Welcome back!

The Gadfly Records website

Don Dixon’s wonderful catalogue here

Visit Don Dixon online here.

(And don’t forget Marti Jones!)

Blast From The Past – Beachwood Sparks

The great thing about revisiting albums years later – especially ones that not everyone is talking about – is that you hear them differently and pick up new wavelengths. It’s almost ten years since Beachwood Sparks released their eponymous album, and while I still enjoy it I’m able to discover other subtleties in the music beyond the major touchstones I identified the first time around. From legacy bands like the Grateful Dead to more recent purveyors Apples In Stereo, it’s all about texture.

Here’s what I wrote for Cosmik Debris back in 2000…

Gram Parsons described his style as “Cosmic American Music”, and I suppose that if he were around to hear Beachwood Sparks, he’d let the quartet on his bus without a second thought.

A quick look at the graphics and titles would have you trot out Buffalo Springfield or The Flying Burrito Brothers as a touchstone, but the production and arrangements owe as much to inventive popmeisters like Brian Wilson and Mitch Easter. In fact, I imagine that if Easter or master knob-twiddler Brad Jones were sent back in time to produce Parsons, this would be the result. Except “Something I Don’t Recognize”, where he would need the Nesmith-led Monkees. Or “Old Sea Miner”, where only XTC would do.

Aw hell, Parsons would have gotten around, he was that kind of guy. And the fact that Beachwood Sparks pulls all of this off without painting themselves into a corner is a hell of a compliment.

The overall sound is psychedelic, dreamy introspection, with interludes like “Singing Butterfly” leading into more uptempo Byrds/Poco moments like “Sister Rose”. Of course, just when you’re safely in that mood, they toss in an aggressive fuzzbox guitar solo over a go-go beat just to throw you for a loop. “See On Three” recalls Wilco’s experimentation, but the dizzying signature changes are probably even outside of Tweedy’s methods.

“This Is What It Feels Like” is another time-travel song, sounding like a pop track that somehow leaked into the future from 1967 California. “The Reminder” eerily and beautifully recalls the innocence of Neil Young’s first records with its delicate guitar and lilting vocals. Individually, these are wonderfully realized moments; as an album, it’s a mental watercolor painting that will dance with your imagination.

I had mixed feelings about their follow-up album, but I love the debut as much today as I did ten years ago. So if you haven’t savored this one yet, please do. And keep your eyes open – supposedly they will release a new album soon (it’s been an eight year drought!)

Beachwood Sparks on Amazon.

Beachwood Sparks on MySpace

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

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

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

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

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.