I guess I must have been playing my Sparks albums a lot at the time, given the pun-laden titles for the cassette sides. Oh the folly of innocent youth…
Tag Archives: The Turtles
Just a day or two left to stream the new Cars album, Move Like This.
I must admit, I didn’t think these guys were going to get back together, especially after Ben Orr’s death. But maybe Ric Ocasek felt he had to clear the world’s palette after this happened.
I think if you loved the short, sharp pop that the band issued in their heyday, you’ll eat this up. Sure, they’re older, and yes, Ben Orr is a huge loss, but damned if they don’t sound like they just hit the pause button in 1988. They’ve all been busy, of course – hell, I saw Greg Hawkes playing as a member of The Turtles a couple of years ago! But that signature sound remains – you can definitely pick up snippets of old hits in “Sad Song“, “Blue Tip” and several others. Check it out now!
Click here to go to Soundcloud.
Pick this up cheap at Amazon.
I guess writing about the closing of Not Lame sent me to the record racks for consolation. Grabbing a Liquor Giants disc is never a bad thing to do. Meaning to select Every Other Day At A Time, I accidentally grabbed the next disc in the rack, Something Special For The Kids. An audio Freudian slip? The latter disc was originally a series of hidden bonus tracks on some editions of EODAAT and was not released on its own until later that year.
When I wrote the review for TransAction Magazine in 1998, I couldn’t focus on the bonus tracks; it wasn’t a sure thing that they’d see the light of day. But it’s okay now! Hell, I love tributes and cover tunes, and Something Special For The Kids is loaded with them. Jeff Beck, The Move, The Turtles, Connie Francis (!), Dusty Springfield, Jeff Lynne…I’m sure they did it for fun and I’m glad they did.
And Every Other Day At A Time is no slouch either.
It’s almost Christmas! Go grab both of them.
Ward Dotson and company are at it again with perhaps their strongest effort to date. Calling to mind The Byrds, The Plimsouls, Big Star, The Kinks and several other similar influences, their Replacements-like “sloppy but tight” sound worms its way into your heart very quickly.
Although “What’s The New Mofo” won’t get airplay (thanks to the well-enunciated long version of “mofo“), ringing guitars and heartfelt harmonies songs like “Dearest Darling” “Kentucky Lounge” and “Caroline” deserve serious air time. The promo copy includes eleven covers as bonus tracks (to be released as a separate disc later this year) and is capped by a tremendous cover of Bowie’s “Boys Keep Swinging”.
It’s Memorial Day Weekend here in the United States, but since I have to account for our society’s short-term memory (and McNugget lifestyle), today I’m only dropping back five years!
Let’s turn the Wayback Machine to my 2005 review…
Is nothing sacred? Those were the first three words out of my mouth when I heard that Todd Rundgren and two-thirds of his current band were hooking up with the lesser half of The Cars to exhume the Boston band’s legacy and (ahem) take it for a spin. But with Ben Orr resting in peace and Ric Ocasek – the face of The Cars – unwilling to sign on, how could one possibly take a new version of The Cars seriously?
A famous musician covering others is nothing new. Utopia’s Deface the Music was a brilliant take on The Beatles, but it was an album of originals, not covers. And when Todd has done the cover route, most notably on Faithful, the results have been stellar…but always under his own name. Ringo takes a few…er, ringers on the road every summer, but he doesn’t call it The Beatles. Elliot Easton, on the other hand, had no problem whoring out (*) as a member of Credence Clearwater Revisited. (And let’s face it, without John Fogerty, what is there to revisit?) Considering the collective history of this quintet of players, they could have called themselves NazzCar or Autopia and at least had a sense of humor about it, but…no.
And the record? Mostly (cough) faithful and energetic live renditions of the Cars catalogue, the faster tunes more acceptably juiced up. Todd channels Ocasek’s vocal mannerisms for “Best Friend’s Girl” and “Shake It Up” but Sulton’s take on “Drive” is a disappointment. One new track, “Not Tonight”, is probably the poppiest thing Rundgren has written in years but is ruined by ridiculous lyrics. Does this longtime pop craftsman really think a Blackberry is good subject matter? As for the other two new tracks, they’re so forgettable that I have thankfully forgotten them already.
The set here, like the live shows, is padded with Todd songs, so the catalogue is obviously thin. Anytime a “band” has more apparel than material, you have to take them for what they are – a money grab, famous guys leaning on a legacy and going for it (read: merchandising) as an over-qualified cover band.
Cars? They just don’t make ‘em like they used to.
(* ironic present day update: Greg Hawkes is a Turtle)
Judge for yourself: listen at Amazon
Five years later…I’ve probably softened on my initial reaction since then, if only for the continuing struggle that so many of my musician acquaintances endure. Can’t afford health care…their work shamelessly stolen and distributed by pirates…an entertainment industry focused solely on spectacle and tweens at the expense of a generation of living, breathing musicians.
Still hate the Blackberry idea though…
It wasn’t unusual for bands in the 60s to work their way to the top of the local and regional pile and get an opportunity to take that next big step to stardom. But consider the obstacles – how primitive the communication and public relations tools were, how few venues there were to siphon through as an artist – and it’s not hard to look at the long list of bands who were one-hit wonders*.
Now take that down a notch and think about the bands who just missed that rung – a breakout regional hit whose spark just didn’t catch enough fire – and that list gets exponentially longer. There is so much great music that never got its due, but thanks to the ability to create and promote a label from your desktop, more and more are getting their day in the sun. One such band is The Wildweeds, who were monsters in Connecticut but failed to explode nationally. Their recorded canon labored in obscurity for decades despite having a famous alumni, the great Al Anderson on guitar, who went on to achieve legendary status with NRBQ.
I pulled this record out again after getting an email from Doc Cavalier‘s daughter Darlene which included a link to this great video her Dad spliced together. I didn’t recall having seen the Wildweeds video before – turns out it’s the only video of this lineup – but I did remember Michael Shelley issuing this great CD on his Confidential Recordings label a few years back, so I pulled it out to play it.
No Good To Cry assembles singles and studio tracks from The Wildweeds Cadet era tracks plus ten additional songs; all were remastered by Doc Cavalier and Richard Robinson, and for the most part you can see where the band’s “Soul City” moniker came from. Most tracks sit squarely at the intersection of Philly soul/r&b and garage rock, much like their contemporaries The Young Rascals. There’s a great photo on the back of the booklet where the band is standing in a field of…well…three guesses. With their powder-blue suits and stocky frames, they look about as hip as The Turtles.
Having the ability to morph from jazzy to surf to psychedelic sounds, and with a spirited vocalist like Bob Dudek on many tracks, they were versatile and sophisticated. Vocal arrangements that rivaled harmony groups like The Association; guttural pop blues that emulated Blood Sweat and Tears, and numbers featuring flute and acoustic guitar reminiscent of early Traffic. (And yes, they might toss in a Beethoven riff during the bridge if they felt like it.)
I could go on about the band’s history and demise, but I’d prefer to point you to a couple of experts. Ironically one of the best essays about the band was written by Christine Ohlman, whose album I highlighted two days ago. (Christine, as you would expect, is a passionate writer and music historian in addition to her performing skills). And major kudos to Richard Brukner (co-founder of Confidential Recordings) for his excellent essay in the liner notes, just one part of a fabulous package that was assembled with love and respect.
Forty years after the 60’s ended, Felix Cavaliere is playing with Steve Cropper. Jimmy McCarty and Johnny Badanjek are playing together. Richard X Heyman is enjoying success with his 60s garage band, The Doughboys. Not every trip down memory lane is fueled by money; sometimes it’s just the right thing to do at the time.
Likewise, although I listen to a ton of new music, there’s no reason to turn my back on the past… especially if I’m experiencing some of it for the first time. Please do seek this one out and be rewarded like I was.
*No Good To Cry actually did register as a “one-hit wonder” in a 1990 collection on Rhino Records.
And Happy Birthday to Russell Crowe, who has never thrown a telephone at me, but whose performance as Bud White in 1997’s L.A.Confidential will stand the test of time. Sadly, neither Crowe nor Guy Pearce were even nominated for their roles, which is unbelievable in hindsight, and the film got drowned in the Titanic tsunami, winning only for Best Adapted Screenplay and Best Supporting Actress Kim Basinger. More on one of my favorite films at another time.