Wayback Wednesday

Back to the summer of 1966…

I’ve been avoiding The Beatles for too long, probably because, hmmm, who doesn’t like or know The Beatles? (Well, lots of people dislike them and try to tear them down, but I simply ignore that. Ahh pity the FOOL!)

Though 1964 and 1965 were the prime years on the charts, The Beatles still racked up 6 hit songs on the Billboard Top 100 in 1966, one of which reached #1 in June of ’66 (“Paperback Writer.”)  This one also charted in 1966 and stayed there for 7 weeks, but its highest position on the charts was at #23.

The video is sort of fuzzy, but here’s George introducing “Rain,” adding that they may have invented MTV. (a stretch, George.)

Love and kisses.

“Sorrow”, Four Ways

David Bowie was no stranger to cover songs, and the Pin Ups album consists entirely of covers.  Sometimes when I hear Bowie’s covers, I deceive myself into believing that they are his songs: he was just that good at injecting his own style and personality into the work.

I recall seeing a taped performance video of “Sorrow” on “The Midnight Special.” That entire episode was Bowie, but the thing that always stood out to me was that song. He oozes high art as he struts around the set in that white suit, the high-fashion makeup, and the what amounts to a fluffy, stylized, red mullet. You simply cannot take your eyes off him.


But this was at least the second cover of this song.

The McCoys released “Sorrow” in 1965, with Rick Derringer singing lead. The pace of the song is the same, but this original version included a harmonica. I like this one, too.

In 1966, The Merseys had a UK #4 hit with their cover of the song, which is more up-tempo and more produced than the McCoys’ original, with horns replacing the harmonica of the original recording.

Honestly, I like all three of these versions, but Bowie’s stands out. He picked up where the Merseys left off, using a horn instead of a harmonica, but his vocal wins. But, the cool thing is that I really don’t HAVE to pick one over the others, and I can enjoy all of them.

BONUS: While reading up on the song, I came across one more cover, but this time a female sings. It’s from The Prissteens, a 90’s band consisting of three women and one guy (the drummer.) This one’s more punky and the lead singer’s voice kind of reminds me of Courtney Love. No horns or harmonica; just some awesome guitar.

Which one do you like best?

Love and kisses. And lots of “Sorrow.”


Wayback Wednesday

You can’t do a musical tour of 1965 without a nod to one of the biggest runaway hits of the year, The Rolling Stones’ “(I Can’t Get No) Satisfaction.” It did not receive that parent stamp of approval, probably because of all of the hoo-hah over the sexy lyrics. (Really? I see the deeper meaning here when I pay attention to lyrics…TO A POINT. hahaha)

Anyway, yeah, I was a Beatles girl, and back in the day, it was a Beatles/Stones thing. I don’t know who created that, but it sunk in early for me. The Stones seemed darker, angrier, and more gritter, and I was not yet ready for that.  Of course, now I appreciate the very things that turned me off when I was a happy-go-lucky kid. Now I’m both a Beatles girl and a Stones girl.

Gotta love that fuzzy guitar and the vague attempt by Mick to keep in sync with the soundtrack.

Love and kisses.



Tuesday Tracks – Sara Watkins

Sara Watkins won’t be everyone’s cup of tea, since she is automatically lumped into the bluegrass genre, due to her participation in her former band, Nickel Creek. Her latest album, Young In All the Wrong Ways, was released on 1 July and I have not heard the entire thing yet, but it’s on my short list of “will listen soon” albums.

I don’t hear a lot of bluegrass in this particular song, but that’s no surprise, since Sara’s last album was quite poppy.  Have a listen to “Move Me,” and enjoy her gorgeous voice.

Love and kisses.

Let’s Talk About “Roadies”

After the disappointment of the hot mess HBO show, “Vinyl,” I was skeptical about trying another rock related series.  I had no idea this was a Cameron Crowe project until the final credits rolled at the end of the first episode (didn’t read up in advance and wanted to have no pre-judgements.)  You know what? Now that I know this a Crowe project, I can totally see it.  The stalker/groupie is a sympathetic character, similar to Penny Lane in “Almost Famous,” and there is a brother/sister relationship happening, also present in AF.  But what “Roadies” does not have that was present in AF is heart. I don’t know; perhaps it will develop over the next few episodes, but it just felt very flat to me. Rainn Wilson will be joining in, so perhaps he’ll give this show the kick it needs.

You can already see the episodic formula in the works:  Road crew arrives in the next city to begin setting up for that night’s show, some drama is introduced, there is a crew meeting, a “song of the day,” things get crossed off the to-do list, more drama, and ultimately, the show happens (YAY, music!), and there is resolution of that episode’s plot, with a continuing story arc of “will they/won’t they” between the major roadie characters (Luke Wilson and Carla Gugino.) It seems tired from the first episode.

There was a little bit of magic, and it winds through the minor characters, particularly a tech named Kelly Ann (Imogen Poots), who seems to be the moral center. (I don’t know, though, since she aspires to be a filmmaker. ) One of the other enjoyable characters, Phil, the gruff, legendary “I know Pink Floyd and Lynyrd Skynyrd” road manager played by comic Ron White, seems to be already gone, damn it.  And Luis Guzman’s bus driver is pretty cool, too.

One thing is apparent: there is NOT ENOUGH MUSIC. We get the tease from the opening band, The Head And The Heart, during their sound check and a bit of Pearl Jam in the closing moments, but not much more than that.  Seems to me that if it’s a show about roadies, there should be more music in the soundtrack, which was the ONLY thing “Vinyl” had going for it.

Anyway, here’s the trailer. If you get Showtime and you love the idea of a show about behind-the-scenes with a rock tour, check it out. I’m sticking around for Rainn Wilson, now that I’ve seen the entire trailer, so I’ll make my final judgement on the show after his character arrives.


Love and kisses.

Throwback Thursday – Philly Soul

I know I posted an old song just last night, but, HEY, it’s another day! I HAVE NO BLOGGING RULES.

So, since Wednesdays over the summer are for 1966 songs  (oh, look, a rule), Thursdays can be whatever/whenever.

I have no idea who coined the term “Philly Soul” but you knew right away when a hit song was Philly vs. when it was Motown.  Philly soul felt looser, funkier, and was far more danceable.  Some say it kicked disco into gear. Remember “TSOP (The Sound Of Philadelphia)” by MFSB? That 1974 hit seems like it would fit right in on the “Saturday Night Fever” soundtrack from 1977 (but, no, it isn’t there.)

Here’s a great old Philly Soul song to enjoy on a summer’s day. “The Love I Lost” was written by that amazing duo Gamble & Huff, who wrote and produced 15 gold singles, mostly for Philadelphia International Records. This one hit #1 on the Billboard Hot Soul Singles Chart and #7 on the Hot 100. Get up and dance, people! It’s got the funky groove guitar, the strings, the horns, and those fabulous vocals from Harold Melvin & The Blue Notes.


Love and kisses.

Wayback Wednesday

I wanted to post one from a relatively unknown band and I found a great one here.  This is a New Jersey band, The Critters, covering a John Sebastian song which had been recorded for The Lovin’ Spoonful’s debut album.  The song made it all the way up to #2 by early July before it slipped back, just missing that #1.  Critters members included Don Ciccone, who later joined The Four Seasons, Bob Podstawski, Jim Ryan, Ken Gorka, who was later a co-owner and booking agent for the legendary New York club, The Bitter End,  Jack Decker, and Chris Darway.

Enjoy the sweet sounds of Not The Lovin’ Spoonful.

Love and kisses.


Wayback Wednesday

In which we continue to revisit the summer of ’66.

This one is “big in Boston,” but the band was not from the area. The song was written by Ed Cobb, who produced the band, and also wrote the two-times hit “Tainted Love.” Dick Dodd, the drummer/vocalist for The Standells and former Mickey Mouse Club star,  is the one lip-synching in the video.

I’ve never played guitar, but someone showed me how to play that opening riff once (I forget who. Damn it.)  Anyway, here’s an absolute classic garage-rock tune. And, guess what? The Charles is not that dirty these days!

Love and kisses.

Tuesday Tracks – Band Of Horses

Band Of Horses just released Why Are You Ok on the Interscope / Virgin EMI label. It’s produced by Granddaddy’s Jason Lytle, and it definitely has that Granddaddy feel.

After a few spins on Spotify, “In A Drawer” is my favorite song on the album.  Hope you enjoy.

Love and kisses.