Archive | April, 2012

How About the Electrical Signs?

10 Apr

Get Electrical

And the sign said long-haired freaky people need not apply. If you were of cognition in 1971 you knew this line pretty damn well. Five Man Electrical Band’s “Signs” propelled the band into the national spotlight and engendered a youth protest against signs. Okay, not really, but it certainly did hold a message of inherent earthy freedoms and a sharp criticism of discrimination. While the hippie culture “died” in 1969, some elements did carry over in the 70s and this Canadian band’s symbolic piece’s success proved that protest against unjustifiable treatment was still ripe.

But let’s back up a little bit. “Signs” is widely viewed as a one hit wonder, and a gigantic one at that (one that reached #3 on Billboard Top 100, #1 in Australia for nearly two months, and went gold). The Five Man Electrical Band had been around for a while though and while they may never escape the one hit wonder crown, their history is still worth delving into.

The band formed in Ottawa in 1964 as the Staccatos and first gained recognition in 1967 when they recorded an album with The Guess Who. In 1968 the band was vocalist/guitarist Les Emmerson, bassist Brian Rading, keyboardist Ted Gerow, and drummers Rick “Bell” Belanger and Mike “Bell” Belanger. They released another album to no fanfare and attempted reviving their career in Los Angeles with a flop, “It Never Rains on Maple Lane.” The band changed their name and style, was dropped, was picked up – credit to the influential Dallas Smith here, and then finally released “Signs,” but originally as an unsuccesful B-Side. It was remarketed and then hit major success. 

Let’s listen to the flop prior to the hit.

Okay it is not awful. It is Association-like pop music without a true hook to pull listeners in. That is probably why it didn’t meet success. The keyboard and harmonies are light-hearted and the lead vocal is smooth. It is definitely different from “Signs” which is more upbeat and rock-influenced.

More like this. “Signs” combines the elements of a succesful song. An excellent vocal combined with a catchy chorus. The song moves with an effervescent protest that is rich with strong harmonies and a smart lyric.

The Finals – Can Revolver Upset Pet Sounds?

9 Apr

The finale post is among us. It has been an excellent competition even though the majority of match-ups have favored the favorite. But I was expecting this to go chalk like last year. I guess it means I picked pretty good albums as the top seeds!

Before we go into the Finals (where we had a bit of a shocker) let me set the stage for the rest of the week. If you haven’t noticed by the lack of posting, I have been busy lately with work-related travel, holidays, and other things. This week should slide by swimmingly with some obscure classic rock and other normal posting. After I reveal the winner of the March Madness competition on April 16, though, things are going to get very new for the end of April. Last summer I introduced a week-long new band posting splurge. Well, I have a lot of new bands I want to profile, so expect an expanded version of that. Also, I will be going to three shows before April ends (Guster, Colin Hay, and the Left Banke), so you expect reviews of each. It should be a great rest of April. Now, on to the finals.

#1 Seed: Pet Sounds by the Beach Boys vs. #3 Seed: Revolver by The Beatles

In 1966, The Beach Boys and the Beatles could have easily taken the shared title of “Best Band of the Time.” So, in that sense, it is certainly understandable that they are facing each other in the finals for best album. The shock here is Revolver, which was losing to Bob Dylan’s Blonde on Blonde for nearly the entire week, but a late run of Beatles-favored voters put it into the finals by ONE vote. The Beatles won in last year’s March Madness poll with Sgt. Peppers. They are the UCLA of this poll. The Beach Boys, despite having serious difficulties shaking off Simon and Garfunkel in the Elite Eight, easily defeated Freak Out in the final four. Now these two perennial superpowers meet.

Since this is inspired by March Madness I am going to compare these two albums in basketball terms. The Beatles and Beach Boys both introduced a brand new offensive scheme in 1966. It featured a lot of mind manipulation (very strategic and skillful) and fast-paced play followed by moments of a slowed-down attack. Now they face each other. Two very similar schemes – one perhaps more developed than the other (Pet Sounds over Revolver in this case). Who will win? Well, that’s up to you all. Happy voting.

Opening Day For The New York Mets – Have Hope

5 Apr

Mets Pride?

So this is how it is. I am a fan of the New York Mets. I have been since I was a wee lad and I will be until I am interred. I feel that Mets fans do have a sense of self-pity, often exclaiming, “I am asked how I cheer for this team…” Well, look, at least we are not the Cubs, right?

But I am not here to discuss the ineptitude of my beloved franchise. There is much negative to discuss (whether it be ownership or talent). There is also a whole world of unrepresented optimism (burgeoning farm system, young star quality). Let’s put all of the sabermetrics and notorious Mets-related pessimism aside for a moment. Let’s just talk about Opening Day.

I’ve always had a special relationship with Opening Day. It is an American representation of Spring’s beginning. While it is chilly in New York, the weather doesn’t matter. Baseball is back. The fields are neatly manicured, the basepaths chalked with fine white spray, the bats sticky with tar, and gloves stiff with anticipation. Even if the game is not sold out (looking at you Mets), the bright-eyed youngsters and beleaguered old fans are together, are one, to celebrate the time-honored tradition of welcoming baseball back to the city. And, well, it’s a simple beauty.

The Mets are celebrating their 50th anniversary this year and most fans are prepared for a disappointing season where the Mets will struggle mightily to keep up with the talent in their division. Most fans are already looking ahead to 2014 and the maturation of prospects starting their own opening day this year in Binghamton or Buffalo (or Florida still). Take a second, though, even if you cannot muster up the excitement (not even a small grin) for the beginning of the season. Come on Mets fans. I beckon you. I behoove you. It’s opening day. I know your heart is blue and orange. Let it shine through and cheer for the mighty metropolitans, the miracle mets, the Amazins, the team you grew up with and cheered for when you were a kid, the team that can turn a dull person passionate. Cheer for our New York Mets.

Remember. You have to play the games. So let’s do just that. Join me in a nationwide chorus to say the two greatest words in modern sport. Play Ball!

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Singing The Natch’l Blues

3 Apr

The Natch'l Blues (1968)

Henry Saint Clair Fredericks Jr. has been a musician since birth. His mother sang in a Harlem, New York, gospel choir and his father was a piano player and jazz arranger. The apple doesn’t fall far from the tree. Fredericks Jr. grew up with a keen ear for music – preferring Jazz and World Music. After his father died in an accident, his mother remarried, and at 13, his stepfather introduced him to guitar which became his instrument of comfort. In the late 50s he changed his stage name to Taj Mahal – citing Gandhi as an inspiration – and began playing music more regularly (pairing this love with his equal skill for farming).

Taj Mahal fused blues with world music and quickly became an inspirational musician. He has released 25 studio albums (and several live albums) over an ongoing 40-year-career. He has won three Grammy Awards, been featured on several albums, and he has also been in films – including Blues Brothers 2000. His career has been among some of the most industrious musicians AND he oozes with bluesy talent. Here is my question. Why is Taj Mahal not more universally recognized as the tremendous musician he is? And, yes, he has a great and faithful fanbase, but I think he deserves even more recognition.

I first saw Taj Mahal on PBS. Yes, PBS. After the Rolling Stones finally sucked in the pride and released footage from their Rock And Roll Circus, PBS featured the footage in one of their package sets. Taj Mahal was there in dark Lennon-like shades, a gold-colored vest, and a beige cowboy hat. He played “Ain’t That a Lotta Love” from the 1968 album (his second solo) The Natch’l Blues.

The Natch’l Blues is a nine-track album featuring Taj Mahal, session extraordinaire Jesse Ed Davis, bassist Gary Gilmore, drummers Chuck Blackwell and Earl Palmer (another session extraordinaire), and Al Kooper (later a member of Blood Sweat and Tears). The music is a blend of rock-infused, grunty blues and southern soul. Each track is worth an individual mention, but I am going to point out two for your enjoyment.

This is footage of “Aint That A Lot of Love” from the Rolling Stones Rock N’ Roll Circus. The defined bass riff is jumpy, the guitar composed, and Taj Mahal’s voice loose and passionate. It is Southern Rock/Blues at its finest – a gruntier and harder version of something the Allman Brothers would create. The music actually sounds to me like a combination of Capricorn and STAX records. It is most definitely a product of late 60’s blues (a genre that Eric Clapton was thriving in at the time). The footage is also fantastic.

“Corinna” is relaxed, but still a good example of the blues/soul mix that Taj Mahal excelled in creating. The harmonica and steel-bodied guitar blend together like ice cream and chocolate syrup and Taj Mahal’s voice accentuates the songs draw.

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The Final Four – Beach Boys, Beatles, Dylan, Zappa

2 Apr

A poorly doctored image for our tournament needs

Why go all the way to New Orleans when you can just stay online and vote for the best album released in 1966? Oh, because March Madness and this Music Court tournament have nothing in common despite the intentional name and date similarities and the college basketball finals are enticing? Okay, I guess I understand. But wait! You can do both. So before the National Title game commences tonight at the unfairly late hour of 9:25 p.m. ET (seriously! I go to sleep at 10 p.m.), vote in the two Final Four matchups below!

#1-seed Pet Sounds by The Beach Boys vs. #4-seed Freak Out by The Mothers of Invention.

For the second straight year, the March Madness album pool has gone chalk. That does not mean that match-ups cannot be close. In a big surprise, Simon and Garfunkel’s Parsley Sage Rosemary and Thyme did not only give top-seeded Pet Sounds a run for their money, but also almost beat them. The two albums were only separated by two votes. This was not the case for Freak Out which took care of the Mamas and Papas with ease. Because of this, I am not ready to sail Pet Sounds into the finals just yet. There is a chance that Freak Out might pull off a Final Four update and compete for the title of best album of 1966.

#2-seed:Revolver by The Beatles vs. #3-seed: Blonde on Blondeby Bob Dylan

Revolver has blown out every opponent it has faced since the first round. Blonde on Blonde has pretty much done the same (with the small exception of the Rolling Stones’ Aftermath which it beat by three votes.) Both albums are looking quite strong and, well, are excellent albums. The winner gets the finals and, for the Beatles, a chance to win best album titles for 1967 and 1966.

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