Here is a GREAT concert review, sent in
by Forgotten Hits Reader Tom Cuddy, of a recent Brian Wilson show in Easton,
PA. Sounds like pretty much the same show we saw only this time Blondie Chaplin
was back in the line-up.
And apparently the "Love And Mercy" closer gets to Brian every time. Read
on ...
Rant 'n' Roll: Brian Wilson Is The Beach Boys - Accept No Substitute
by Mike Greenblatt, November 18, 2015
Easton, PA — The music of the Beach
Boys, since 1961, and their debut “Surfin’” single, has been the soundtrack to
our Baby Boomer lives. I was 10. I thought it was the greatest thing I ever
heard. As hit after juvenile hit assailed our young ears over the radio in the
early ‘60s, the Beatles were listening, too, and putting out their own string of
juvenile hits across the pond. The difference between the two pioneering bands
is that while The Fab Four matured into writing whatever the hell they wanted,
Brian, while also maturing in compositional scope, was lambasted by his own
band, management, label and lawyers into putting out the same feel-good pop they
started with. So instead of naturally growing, he turned inward, and with the
help of a copious amount of drugs and a creeping mental illness, turned into
America’s Recluse.
That was fine for The Evil Beach Boy, Mike
Love, who always only wanted “Fun Fun Fun” and still does. So if you want empty
jukebox soulless versions of these songs performed in robotic fashion as if time
has stood still and nostalgia is the primary emotion, indeed, go see Mike Love
and his feel-good traveling whore band of non-Beach Boys calling themselves The
Beach Boys. But if you want the real thing, with chances taken, with all of the
profound angst and rock ‘n’ roll adventurism that only the true giants embrace,
you owe it to yourself to see Brian Wilson and his band of 10 that includes
original Beach Boy Al Jardine and, at the State Theatre in Easton, Pennsylvania,
recently, a wonderful surprise.
That surprise came in the form of Blondie
Chaplin who added some stirring rock-out moments. His vocal on “Wild Honey” tore
the house down and his lead guitar electricity was as exciting as anything he
ever did with the Rolling Stones both onstage and in the studio from 1997 to
2007. Chaplin, along with fellow South African Ricky Fataar, joined the Beach
Boys in 1972 as full-fledged members. They infused the Boys with promise anew
and made them stronger, tougher than the rest and awash with creativity. When
Chaplin launched into singing “Sail On Sailor,” a song on which he originally
sang lead on the Beach Boys’ 19th studio album in 1973 (Holland),
all bets were off and we were dizzyingly transported to a time when this music
was hardly nostalgic, but vital. Chaplin wandered about the stage shredding for
some supreme moments, looking like a demented Lou Reed. The dude’s a
classic.
Only four songs out of 31 (in 1:45) were not
Beach Boys tunes. They were from Brian’s current — and quite excellent — No
Pier Pressure. Al Jardine was goose-bumpingly good singing “Shut Down,”
“”Little Deuce Coupe” and a cover of Phil Spector’s “Then I Kissed Her.” When
his son, Matt Jardine, took the mic with his absolutely perfecto falsetto for
“Don’t Worry Baby,” I think the crowd had a collective orgasm as his voice
matched and exceeded the intent of the song as originally sung by Brian off
1964’s Shut
Down Volume #2.
To hear such timeless classics as “In My
Room,” “Surfer Girl,” “Darlin’,” “Surf’s Up,”, “Good Vibrations,” “Heroes And
Villains” (the opener, preceded by a stunning a cappella “Prayer” which stunned
the expectant crowd with wholly gospel fervor), “California Girls” and “I Get
Around” performed so beautifully and harmonically dexterous was, for me,
spiritual.
“This is the best song I ever wrote,” said
Brian as a kind of a hush fell over the crowd for “God Only Knows,” from the
eleventh — and best — Beach Boys album, 1966’s Pet
Sounds. It would be the album that Paul McCartney salivated over for months
before attempting to top it with his band’s Sgt.
Pepper’s Lonely Hearts Club Band in 1967. The much-deserved encore included “All Summer
Long,” “Help Me Rhonda,” “Barbara Ann,” “Surfin’ USA,” “Fun Fun Fun” and the
last song raised a lump in more than one throat. Brian almost couldn’t get
through “Love And Mercy,” the theme song to the exquisite movie of the same
name, because he had taken chances vocally all night long. Coughing, sputtering
on some of the lyrics, it didn’t matter at that point. We were all standing
and kvelling* for this American
Treasure.
(“Kvelling” is a Yiddish word I heard growing
up that means bursting with happiness and pride.)
Kent ...
Starting tomorrow at 10 AM (New York Time) Top 500
Countdown starts on WCBS-FM.
Maybe you can sneak in a few songs while you're
at work.
I'm gonna go out on a limb and say neither one of us will like the
#1 song.
Frank B.
What??? You don't think "Boogie Oogie Oogie" will win the top honors this
year?!?!? (kk)
Kent,
Enjoyed
Sunday's FH, especially the video you posted of Maurice Williams and Luke
Balbosa doing STAY. Even though he is considered to be a "one hit wonder" today
with his song STAY, Maurice Williams did have a couple of follow-ups I somewhat
liked.
As for the
hits of Johnny Rivers, probably one of his biggest hits here in OKC was his
remake of the Miracles' TRACKS OF MY TEARS. I always did like his remake version
better than the original by the Miracles.
John was giving you his reminisces about his
experiences with his first transistor radio. Reading that and listening to the
tune by Freddy Cannon, reminded me of a tune that Frankie Lymon came out with in
1958 on Roulette Records. Kent, do you remember or are you familiar with the
song PORTABLE ON MY SHOULDER? Frankie had a "portable" on his shoulder and his
baby by his side.
Larry Neal
We're hoping to have a word
with Maurice Williams after the holidays to share with our readers. "Stay" is
TRULY a timeless classic ... it has won over the hearts of every new generation
to hear it since it first topped the charts back in 1960. (Remake versions by
The Four Seasons and Jackson Browne performed pretty well on the charts, too ...
but it was the original version, clocking in at just under two minutes, that
captured our hearts all those years ago. Non-stop use in movies, commercials
and television have kept the song alive ... and it still sounds just as fresh
today as it did way back when. (kk)
Saying goodbye to a New Orleans legend ...
Kent ...
Stole this one from Ron Smith's
Oldies.
Don't tell Ron.
Orpheum Theater Fills With
Allan Toussaint Fans And New Orleans Musicians As Star-Studded Tribute Set To
Begin / NOLA.com
From FH Reader Ken Voss ...
P. F. Sloan (born Philip Gary
Schlein; September 18, 1945 – November 15, 2015)
Some unique notes of his career:
* Wrote or co-wrote:
"Eve of Destruction" (Barry McGuire)
"You Baby" and "Let Me Be" (The Turtles)
"Secret Agent Man" (Johnny Rivers)
* Was the lead falsetto voice instead of Dean Torrence on Jan & Dean's top 10 hit "The
Little Old Lady from Pasadena"
* Session guitarist with The Wrecking Crew
* Production credits range from Ann Margaret to The
Robbs
* Was original founder of The Grassroots
* In 2015 published memoir - What's Exactly the
Matter With Me? Memoirs of a Life in Music
Here's a recent interview with Eric Carmen,
sent in by FH Reader Tom Cuddy ...
Kent ...
Kent,
In Saturday's FH I was
immediately reminded of a record that came out in 1961 and was fairly big here
in OKC. It was Jerry Wallace's EYES (DON'T GIVE MY SECRET AWAY). I don't think
it charted nationally and of course, don't know how it did in your part of the
country. It was on Challenge Records of course. Also, today's feature reminded
me of a girl I knew years ago from back East.
I always did like to look into THE EYES OF A NEW YORK WOMAN.
Also, while watching a football
game on television just now, I saw for the second time within a few days a
commercial which I believe was for Android - Google. The background song was
DOWN IN MEXICO, the tune that the Coasters did back in 1956. I don't believe it
was the original recording by the Coasters, but I would say it's a close
second.
Larry
Hello Mr Kotal!
Just picked up a new book last
night - "Everybody Knows About The Bird" by Rick Schefchik.
It's a new book
on the Minnesota music scene in the 60's featuring The Trashmen of Surfin' Bird
fame. The little I have perused it I think I am in for a good read. Of course
you can get it on Amazon. Just thought you and the rest would be interested in
it.
I was looking at the index in the back at the people,
groups and songs annotated in it ... well, you will be impressed ... Al Kooper,
The Beach Boys, the Stones, Elvis ... well you get the point.
And you can
find a great interview with him about the book on the "Holding Court" podcast
with Ron Rosenbaum. Enjoy both!
Pete Heger
I hadn't heard anything about this one ... and I can't
find a link on Amazon. Maybe you can send us a review once you make your way
thru YOUR copy??? (kk)
I can do that. It might be a bit as I am saving it for
our vacation here in a couple of weeks. You always need a good read on the
plane, you know. Put it out there 'tho. The little bit I have looked at it
brings back so many memories. I just wish my group of friends back in high
school would have been the kind to go to all these shows. I really missed out.
I will report back when I finish it.
Wow, a book report ... like eighth grade all
over!
Pete
Yeah, but a FUN one!!! Enjoy your
trip, Pete! (kk)
And, speaking of cool give-aways, Davie Allan has
promised to send an autographed copy of his two latest cds, "50th Anniversary"
and "King Of The Fuzz Guitar" to a lucky Forgotten Hits Reader.
Interested in winning a copy? Drop me a line and
simply put "Davie Allan" in the subject line.
Or you can order your OWN copy directly from Davie
himself ... get BOTH CD's for only $15, including shipping ... and he'll sign
YOUR copies as well
Holiday Special (two new
CDs):
"50th Anniverary" AND
"King of the Fuzz Guitar" for $15 (that includes the
shipping).
Davie
Allan
12100 Coventry
Way
Unit
306
Tustin, CA
92782
Thanks,
Davie
These very well may be the last physical
cd's that Davie releases ... seems like EVERYBODY has joined the digital age of
downloading. (Not me ... I bought half a dozen brand new cd's last week ... but
it IS getting harder and harder to find them!!!)
Don't miss out ... grab YOUR chance to
pick up these cd's stat! (kk)
And a few more great reviews of Harvey
Kubernik's EXCELLENT new Neil Young book ...
An excellent review of Neil Young: Heart
of Gold at the website for reviews, Curled Up With a Good
Book.
Neil Young's career has traced an arc over five decades.
The ups and downs of his career could fill a book, and luckily we have the
supremely talented Harvey Kubernik to provide us with
it.
The author is a cultural historian with not only a
tremendous gift as a writer but also the insight and understanding to unravel
not only who an artist is but why.
Kubernik follows Young from his roots in Canada all
the way through his most recent solo album (number 36, if you're counting)
titled The Monsanto Years. In between those two goalposts, the author
follows Young through the important years of the Buffalo Springfield, his work
with Crosby, Stills, Nash and Young, and a solo career that began in the
'60s.
There are exhaustive interviews here with many of the key
players in Young's life including Graham Nash, Nils Lofgren, Ian Hunter, Robbie
Robertson, Richie Furay, and many others. They provide a picture of an iconic
artist who has long been hard to define.
Young's extensive catalog of music is analyzed and
interpreted. As side pieces to the discography, archival photos and personal
memorabilia adorn this beautifully packaged
book.
Once again, Kubernik has taken the reins of a wild horse
and tamed him. He gives a face and focus to an artist nobody has really
understood -- until now.
copyright Steven Rosen, 2015
A number of years ago I was talking Eric “Roscoe” Ambel, of
Del-Lords and Steve Earle and the Dukes fame, about some of his extracurricular
activities, one of them being handling production chores for Nils Lofgren’s ’92
album Crooked
Line. While working on a particularly brawny track
called “Drunken Driver” Ambel remarked to Lofgren
that it reminded him a lot of Neil Young & Crazy Horse; the lightbulb
apparently went on over Lofgren’s head, because a day or so later who should
wander into the studio but Young himself. Ambel soon found himself trading
electric guitar lines with the music legend. Subsequently, while listening to
the playback, Lofgren asked Young what he thought of the riffing.
“It’s ugly, it’s horrible, it’s nasty — it’s just
right for the song,” was Young’s response.
That scenario came to mind while absorbing the latest book by
veteran L.A. author / journalist Harvey Kubernik (most recently: 2014’s Leonard
Cohen: Everybody Knows, reviewed HERE). Neil
Young: Heart of Gold is rife with such moments, when Young made an artistic
call based not on what would seem to be the obvious or logical or even
commercial decision, but upon his gut feeling, of what his instincts told him
would serve the moment — and certainly the song or the album or the concert at
hand — best.
With each of its 10 chapters set up to detail a specific timeline
in Young’s life, the 224-page, photo-rich NYHoG pulls
off the remarkable event of presenting those timelines with orderly precision
based less on uniform blocks of time (for example, the “Expecting to Fly”
chapter depicts 1966 - 69, while “A Long Road Behind Me, A Long Road Ahead”
covers an entire decade, 1996 - 2006) and more on how proximate releases, tours,
events and personal digressions informed and related to one another. Just to
cite one chapter, the “Keep on Rockin’” 1987 - 96 period: late ’87 found Young
legally free of Geffen Records, with which he’d had a rather, er, fractious
relationship (a few years earlier the label had sued him for submitting albums
that were “unrepresentative” of the man they’d thought they were signing) and
back home on Reprise, where his first release was the
horns-heavy/blues-rocking This
Note’s For You (the accompanying tour was recently documented on the
11th installment
of Neil’s archive series, Bluenote
Café); apparently freed psychically as well, Young would go on a sustained
creative roll and enjoy one of his most celebrated eras ever, including the
release of iconic anthem “Rockin’ In the Free World,” the now-legendary “Smell
the Horse” tour with Crazy Horse of the US and Canada that featured Sonic Youth
as opening act, the platinum-selling Harvest
Moon album, an Oscar nomination for Best Original Song for “Philadelphia,”
the Kurt Cobain-referencing Sleeps
With Angels album that earned him his “Godfather of Grunge” sobriquet, and
high-profile tours with both Booker T & the MG’s and Pearl Jam serving as
his backing band.
Don’t mistake this 8.5” X 10.8” volume for “just another
coffeetable book,” however. Folks who spot it in the book store might initially
compare it to the 2013 Neil
Young: A Life in Pictures, given the similar size and similar wealth of
photos — many of them familiar and considered “classic” but quite a few also
quite rare and/or relatively obscure — that dot each spread and cover literally
every stage of Young’s career (from high school yearbook photos all the way up
to his appearance in April of this year in L.A. at Stephen Stills’ Light Up the
Blues benefit for Autism Speaks).
But for my money, NYHoG is
as worthy a Young biography as, say, Jimmy McDonough’s Shakey,
from 2003, or Johnny Rogan’s 2000 tome Zero
to Sixty. As a lifelong Young fan who even saw Buffalo Springfield back in
the day, Kubernik certainly owns those books and many others, and it’s likely
that he didn’t feel the need to retread similar narrative ground. Instead, he
structures his book as an oral history that synchs nicely with the images he
presents, quoting from Young intimates (David Geffen, David Briggs, Elliot
Mazer, etc.), journalists and filmmakers (John Einarson, Henry Diltz, Stanley
Dorfman, etc.), musical peers and bandmates (Randy Bachman, Eddie Vedder, Graham
Nash, Richie Furay, Nils Lofgren, Frank Sampedro, etc.) and scores more. At the
end of the book an appendix lists all of Kubernik’s respondents along with a
capsule bio for each, so while a name like Nash or Lofgren probably needs no
further explication, it’s nice to know the bonafides for some of the
lesser-known people who provide quotes for the book. (Kubernik lists all these
folks as “contributors.” Nice populist touch, that.) Another appendix lists the
original sources (books, magazines, etc.) for all quotes not collected by
Kubernik himself.
He also drops in Young quotes where appropriate, additionally
making judicious use of brief but pertinent narrative segues — mindful no doubt
of the number one pitfall for oral histories, namely, the ever-present risk of
jumping from one “voice” to another without any accompanying context, thereby
leaving the reader confused. And to bolster the time-line theme of the book, an
appendix provides a very detailed 25-page discography of every Young-related
official release.
Ultimately, Neil
Young: Heart of Gold strikes the right balance between text and images,
between brain food and eye candy. You can proudly leave it out on the table in
the living room to impress visitors with your obvious appreciation of The Icon
Known As Neil Young, sure. But it’s also the kind of book you can pick up while
listening to a record or wondering about some stray bit of Young lore and come
away feeling just a little more informed than you were previously.
And hey, Christmas is coming, and everyone’s got a Young fan in
the family or circle of friends in need of a good gift idea, so… Now excuse me,
I have to go. I’ve been putting off organizing into a database my 500+ Neil
Young bootleg LPs, CDs, tapes and downloads for far too long, and I suddenly
have an incentive to do just that.
-- Fred Mills
Order
your copy here:
