AOTW - 5/20/13: Lost But Not Forgotten

[beantownbubba]

Instead of focusing on a single band, I decided to make a virtue of my advanced age and provide you young ‘uns with a personal, idiosyncratic survey of some artists and music that have apparently dropped out of the rock n roll “library”. Some of it was once popular or at least notable but failed to make that mysterious transition to the common musical database and some of it sank without a trace upon release, remembered fondly by a only a few lucky listeners. As we’ve discussed with respect to over and underrated, whether something has been “lost” depends on one’s perspective and these choices reflect my subjective sense of what’s no longer on the radio or in the discussion. I’ve also included a separate “quick list” of artists/albums which belong in this post but which I’ve posted about on 3DD (or maybe even 9B) before.

Since the advent of the cd and especially the internet, the concept of the “legendary lost album” has become something of a lost legend itself, so Paul Pena’s New Train, a classic example of the form, seems like a good place to start. From AMG: “This [release on CD] is the debut release for the ‘lost’ album from blind soul rocker singer/songwriter Paul Pena originally recorded in 1973, and although it's not quite worth the 27-year wait for its 2000 rediscovery, New Train is one of the great, unearthed gems of the '70s. … Pena's sophomore disc is a thoroughly invigorating mix of blues, country, folk, gospel, soul, reggae, and rock & roll that would have been one of the highlights of 1973 if it hadn't gotten snagged up in corporate red tape and remained, practically unheard, in Pena's closet…. New Train sounds fresh, essential, and invigorating, even 27 years after it was recorded, establishing this as one of the most magnificent, previously missing albums of [the 1970’s], or any, era.” Give yourself a gold star if you know that Steve Miller’s version of “Jet Airliner” is not the original and that the song was written and first recorded (but not released) by…Paul Pena. Pena’s version is to these ears far superior, a bluesy and soulful take on the life of a blind bluesman as opposed to a poppy whine by a spoiled rock star. Admittedly the second half of the album doesn’t quite keep pace with the standards established by the first, but the first half is killer and the album will not let you down. Pena has a great voice, plays a pretty mean guitar and writes autobiographical songs about what sounds like a pretty interesting life. Apparently, Pena went on to achieve some level of fame and fortune as a Tuvan throat singer (!). Hey don’t ask me, I’m just the messenger.



David Johansen – David Johansen For a brief time between fronting the New York Dolls and assuming his Buster Poindexter persona, David Johansen dropped the masks and make-up and just made music. Really good music. This was his first solo album and it kicks serious ass in a hard rockin’ Rolling Stones-derived kind of way. In some ways it’s a very New York City album in that the songs describe a certain lifestyle among a certain strata of downtown hipsters, but virtually none of it is off-puttingly insular. The album includes the incredible “Frenchette,” one of the greatest rock songs ever. The song got some play in NYC when it was first released but I never heard it anywhere else and haven’t heard it anywhere in years ‘n years. Other highlights include “Donna” and “Funky But Chic” (which also made some headway on the radio back in the day).



Mike Bloomfield, Al Kooper & Stephen Stills – Supersession Al Kooper plays one side w/ Bloomfield and one w/ Stills (who apparently stepped in when Bloomfield was unable to complete the full album due to the demons that chased and ultimately killed him) backed by a crack rhythm section. This album was very popular and influential in its time but seems to have disappeared for reasons unknown. Kooper’s singing and playing is typically tasteful and the two guitarists make among their best records. The songs, mostly covers with a few Kooper originals sprinkled in, are well chosen. As you might expect the Bloomfield side is a little bluesier, the Stills side a little poppier but mostly it just rocks. For years, this album was all that stood between Stills and disdain, at least among the people I used to talk music with.

Speaking of Al Kooper, he occupies an interesting place in rock history, and that place is basically everywhere. He’s kind of the Zelig of rock n roll, LOL. He most famously popped up in the Nashville sessions that resulted in Dylan’s “Like a Rolling Stone,” but that’s only the beginning. He fronted the Blues Project, one of the greatest and most influential bands to come out of New York City, he formed Blood, Sweat and Tears and played a large role (including lead vocals) on their first, best and highly innovative and influential album (see below) and he played with, produced or partied with pretty much everybody who was anybody in the 60’s and 70’s. He is usually credited with discovering Lynyrd Skynyrd and produced their first three albums. And he actually got his name in the title of Shuggie Otis’s first album, which he produced and which leads us to…

Shuggie Otis – A child phenom (he made his professional recording debut at 12) and son of r&b legend Johnnie Otis, he was the Rolling Stones’ first choice to replace Mick Taylor. Dude turned down the Rolling Stones. Certainly gets points for artistic integrity or business stupidity or something. He originally made his name playing traditional electric blues/r&b and the collection Shuggie’s Boogie: Shuggie Otis Plays the Blues tells that story quite well. Guy has some serious chops. Al Kooper shows up as the producer of Shuggie’s first solo album, Al Kooper Introduces Shuggie Otis (aka Kooper Session ) (there goes Zelig again, getting his name in the title). I don’t know his personal story, but perhaps Otis got bored w/ being a blues prodigy because his few adult solo albums aren’t especially bluesy though there’s some excellent guitar work. There’s also plenty of great, sophisticated pop rock music with all kinds of discernible influences including blues, soul, psychedelia, latin and jazz mixed into a funky stew. Inspiration Information is probably the best of these albums. It’s a slow burn deep groove kind of listening experience on which Otis plays all the instruments. “Strawberry Letter 23” is the closest thing to a single on Inspiration Information and has been covered fairly frequently (it was a massive hit for The Brothers Johnson). Also check out the title cut which will put a smile on your face; it’s just got that certain feel to it. One never knows how much of the Otis is catalog is going to be in print at any given time, but I’d suggest picking up whatever you can find.



Blood, Sweat & Tears – Child is Father to the Man and Chicago – Chicago Transit Authority Many people don’t realize that these two bands, mostly known for overblown middle of the road pop and sap, were once innovative and influential cutting edge bands. The first albums by each band date from the same era, sound like nothing else the bands recorded and collectively brought horns into the post-Beatles rock mainstream (the prominent horns in 50’s rock were deployed differently). Child is Father to the Man is a stunning album, easily placing in the Top 500, maybe 250. The band covers wide stylistic ground effectively integrating great horn and string arrangements and elements of R&B, classical and jazz while staying grounded in rock. Key tracks include Kooper originals like “My Days Are Numbered” and “I Love You More Than You’ll Ever Know” and great covers of Harry Nilsson’s “Without Her” and Randy Newman’s “Just One Smile” (which some of you may know from Dusty Springfield’s version on Dusty in Memphis). Kooper and trumpeter Randy Brecker left after the first album, the band added replacement personnel and began a change in direction towards the pop mainstream, resulting in a couple of excellent singles, far more financial success and far less artistic accomplishment. Chicago Transit Authority combined with Child to usher in the new horn based, more jazzy sound and included several great tracks like “Does Anyone Really Know What Time It Is” and “Beginnings.” A knowledgeable and insightful birdie whispered in my ear that CTA also heavily reflects the influence and talent of guitarist Terry Kath. While tracks from this album have “survived,” the album as a whole and the sound it helped to create did not as this band also changed direction and personnel (Kath eventually commited suicide) in a process that ultimately resulted in the Peter Cetera era.



The Pursuit of Happiness – Leader Moe Berg (not the same Moe Berg who was the catcher who was a spy) is Elvis Costello without the fame, fortune or Diana Krall. I don’t make that comparison lightly; Berg writes songs with wit, insight and cleverness. Like Costello, his singing may not be classic but it is perfect. Somewhere between punk, new wave, power pop and plain old rock, Berg and crew came out of Toronto to wax poetic about girls, boys n girls, growing up, not growing up and similar essential concerns. “I’m an Adult Now” off Love Junk got some play on “alternative” or “left of the dial” radio stations in its day but it’s another one that didn’t jump over that invisible but real canyon that separates songs that live on from those that don’t. It’s a classic must hear, reminding me somewhat of Cracker’s “Teen Angst” though attitude is probably all they have in common. TPOH’s best albums are Love Junk, The Downward Road and One-Sided Story though all are inconsistent. The first two were produced by the great Todd Rundgren. In addition to “Adult,” key tracks include “She’s So Young,” “Two Girls in One,” “Cigarette Dangles” and “Runs in the Family.” Extra special bonus: Vocalist Leslie Stanwyck went on to lead a band called Universal Honey. They made several albums but the only one I’m familiar with is Earth Moon Transit which I also recommend, although not as highly as TPOH. And, oh yeah, she’s a babe.



Garland Jeffreys – I admit to having a soft spot in my heart for Jeffreys since he hails not just from my hometown but also from my neighborhood (which, according to AMG, is full of racists. Go know. Sigh, the duality of the northern thing). Jeffreys is a funny case. He’s got a great reputation among musicians, he’s received tons of critical praise (including a Best New Artist designation from Rolling Stone), he’s pretty popular in Europe, he’s charted a few times and had at least one very big “radio hit.” Yet nobody’s heard of him. Of mixed race origins, a lot of Jeffreys songs address racism but not in a polemical way; it’s just kind of there, part of the urban mix which is his broader canvas. Musically, Jeffreys is much more about the rhythm than the melodies or wailing solos, playing in a variety of styles that touch on rock ‘n roll, rhythm & blues and reggae among others. “Wild in the Streets” is the big radio hit and it’s a great one. It’s sort of funky w/ a “Walk on the Wild Side” feel to it. It’s catchy as hell and like most of his lyrics it’s full of sharp, carefully drawn observations. Ghost Writer, the album on which “Wild in the Streets” was eventually released, is excellent and is probably his best, full of beautifully observed tales of urban young adult and teen life, often focused on folks on the margins of society. Key tracks include “Rough and Ready,” “New York Skyline” “Cool Down Boy” and “35 Millimeter Dreams” (the B-side to the original “Wild in the Streets” single and indicative of the cinematic approach Jeffreys often takes). Jeffreys is not exactly prolific so it’s not hard to catch up on his catalog. After Ghost Writer, American Boys and Girls is a very good second choice and rocks a little harder than Ghost Writer. Escape Artist is another fine album and includes guest appearances by a who’s who of New York musicians and a neat cover of “96 Tears.” More recently, his 2011 album, The King of In Between, was one of the best albums of that year.



Shoes – I tried to be restrained, but you know I had to include at least some power pop on this list. Hailing from northeastern Chicagoland these guys are legendary in the power pop community sort of in the same way as Big Star. As Big Star is credited with birthing power pop, Shoes are generally credited with keeping it alive during the late 70’s into the 80’s (the band still occasionally plays live gigs and released an album of new material as recently as a couple of years ago). The 3 central players/singers/writers are apparently real ladies’ men as most of the songs revolve around love, lust, sex, relationships and making up and breaking up, not necessarily in that order. Some of it is innocent in the best sense, some of it is much more subtle and knowing. The hooks just keep on coming as do the melodies and clever phrases that just leap out at you when you least expect it. It is totally puzzling to me that these guys never hit. I mean what more can one want from a pop song than a hummable melody, a catchy hook, clever intelligent lyrics chock full of double entendres, great harmonies and guitar fills that are hooks in themselves? All of the albums have their pleasures but the first three are the ones to hear: Black Vinyl Shoes, Present Tense and Tongue Twister. The latter two are sometimes available on one cd. Stolen Wishes is a good example of their later workand is highly recommended. Shoes Best is a handy, representative one disc sampler and I believe there’s a fairly recent 2 disc compilation available as well.



Joy of Cooking – I have tried and failed to turn two 3DD members on to this band, but undeterred I’m going to try again. Joy of Cooking was way ahead of its time and to my ears, the music holds up beautifully. Led by two women singers (Toni Brown and Terry Garthwaite), Joy of Cooking was basically a hippie-ish folk-rock collective that apparently also listened to a lot of blues. These guys were singing about feminism, the environment, grown up relationships, the disappointments and compromises of adulthood and other such topics before any of their peers (or their audience) had even heard of the terms. The musicianship is first rate, both singers are outstanding with ranges that go from gritty blues to soaring harmonies and their best work swings with great hooks and meaty lyrics. The key albums are Joy of Cooking, Closer to the Ground and Castles and there’s a very good collection called American Originals. Notable tracks include the wonderful “Red Wine at Noon,” “Beginning Tomorrow,” “Brownsville/Mockingbird,” and “Don’t the Moon Look Fat and Lonesome.”



Otis Rush – Right Place, Wrong Time There are plenty of examples of the racism suffered by black musicians, but I find this album to be a particularly poignant case. I have to believe that if this album had a white face on the cover it would have sold a zillion copies. Eric Clapton… Jeff Beck… Mike Bloomfield, any of those guys would have killed to make this album and it sounds just like some of the albums they did make because this is exactly the sound they wanted. It’s right down the middle of the electric blues rock plate and it would sound perfectly at home tucked among the blues based rock albums that sold millions of copies in the 60’s and 70’s. Soulful, bluesy vocals and killer guitar. “Tore Up” and “Right Place, Wrong Time” have been covered, I don’t know, maybe half a million times. Additionally, Otis Rush & Friends Live at Montreaux 1986 features guest appearances by Eric Clapton and Luther Allison and is a blues guitar fan’s wet dream.



Previously Profiled and Highly Recommended:

The Mekons, especially Fear and Whiskey (sometimes referred to as the first alt-country album), Rock n Roll (maybe alt, but definitely not country) and Curse of the Mekons

Col. Parker – Rock n Roll

Howard Tate – Get It While You Can (According to the liner notes, Jerry Wexler called producer Jerry Ragovoy in 1967 to say: “I’m with all the cats in the studio [in Muscle Shoals] and we just wanted to let you know – your Howard Tate record is the Bible down here.”)

Peter Wolf, especially Sleepless and Fool’s Parade

The Belmonts – Cigars, Accapella, Candy

Edited 2x to insert the names of a few mysteriously missing album titles

[RolanK]

Wow. A lot of stuff to check out here BTB. Some of these artists I never heard of. Looking forward to dig into.

David Johansen - Being a huge The Smiths fan I became aware of The New York Dolls long time ago as they were always mentioned as Morrissey's favorite band. Haven't really checked out David Johansen (I will now), but Sylvain Sylvain and especially Johnny Thunders did interesting stuff after NYD broke up.

I could go on for hours about Mike Bloomfield. One of my all time favorite guitarists. A true bluesman, but his session stuff on "non-blues" recordings demonstrates economic and subtle, yet innovative playing. Supersessions is a great album, but I like The Live Adventures of Mike Bloomfield an Al Kooper even better. That album has some of the best guitar tone ever recorded (I know it's almost a cliché but I think it is true). The two first albums with Paul Butterfield Blues Band are also great. For people who want to dig into the tragic but interesting story of Bloomfield I can recommend this site www.mikebloomfield.com, and especially the four part (4 x 1 hour) radio documentary here.

Sound Opinions did a Dylan special a year ago or so, with an interesting interview with Al Kooper, his part-taking and observations during the recording of Dylans Blonde on Blonde.

[beantownbubba]

Live Adventures is a great album, and may even feature better playing by Bloomfield than on Supersession but the Supersession album is more w/in what I was trying to do here - it had more impact at the time, I guess I'd say.

Kooper has a lot to say about Bloomfield in Kooper's autobiography, backstage passes and backstabbing bastards. Kooper and Bloomfield were obviously great friends w/ a shared love of the same music. Kooper treads lightly on Bloomfield's, shall we say, difficulties and one gets a clear sense of just how well respected Bloomfield was as a guitarist and, until the drugs took over, as a human being.

[4sooner]

Great job B. Lots of info thoroughly presented. You hit on some records that bring back some great memories that I'm gonna have to pull out and revisit. Starting with Supersessions, CTA, & BS&T.
Also gonna dig into Joy Of Cooking. I figger those 2 3DD'ers you speak of must be idiots.

[dee dee]

Based on the Paul Pena album, it is gonna be fun working my way through this list. Thanks Btb

[dogstar]

I rebought Love Junk by TPOH a few years ago (after my vinyl copy got caught up in a clearout about ten years ago). Still listen to it regularly. Reminds me of Zevon quite a lot plus I was going through a bit of a power pop phase at the time (Raspberries, Game Theory) and it seemed to fit into that too.

Some of the other stuff in the post sounds interesting especially Joy of Cooking.

[blackwll]

Triumph - three piece band from Ontario. Pretty well known in the 1980's. Wizard guitar player and vocalist/songwriter (now a music professor, more on that in a bit), drummer/singer who wrote their more hard rocking songs, and killer bass player. Their apogee was probably the US festival in Cali in 1983. Kind of downhill from there, but still pretty good stuff. Guitar player (Rik Emmett) decides to drop out of rock n roll to become a music professor and folk musician in Ontario. He recently released an album of Triumph songs performed acoustically. One of the others owns a well known studio up there, and the last one has not done too much to my knowledge except some studio work.

I think they have only reunited a few times since then for festivals in Europe, maybe only once in North America. Very low profile now compared to Rush or the Scorpions. In retrospect, their lyrics are often juvenile, although not in a bad way, but that may be because the stopped midway in their career trajectory. Some of their later few albums post-Thunder Seven are kind of cheesy musically, almost certainly due to record company influence. At least they successfully resisted the Hair Metal invasion (see, ex. Scorpions). Music business had to have had something to do with Emmett dropping out.

David Wilcox Another Canadian from Ontario, most popular in the 1980's for his song Bad Apple. Kind of a rocking good time blues. Still performs in Ontario. Not to be confused with the folk singer from NC. I think they trade links on their websites.

[Kudzu Guillotine]

Great topic and well executed as per usual. I've always been a big Garland Jeffreys fan and anytime any love is thrown his way it can't be anything but a good thing. As I've probably mentioned before, I first heard of The Joy of Cooking because of the Peter Rowan penned "Lonesome L.A. Cowboy" that the New Riders of the Purple cut for their Adventures of Panama Red (1973) album. The Joy of Cooking also gets a fair amount of airplay on XM/Sirius' Deep Tracks channel.

Well, I know Kris and Rita and Martin Mull
Are meeting at the Troubadour
We'll get it on with the Joy of Cooking
While the crowd cries out for more..



One artist I'd like to submit for everyone's approval is Johnny Winter. I don't know if he ever had a huge hit single or got a lot of airplay on AOR but he's definitely deserving of it. I'm also a fan of the Edgar Winter Group, who definitely got a lot of airplay but like Johnny, they seemed to have slipped from the public's consciousness. I thought it was very cool that Dave Grohl gave props to "Frankenstein" during his keynote address at SXSW in March but there's so much more to Edgar Winter than that one song.



Another artist I'd like to mention is Leon Russell. He definitely got a lot of airplay back in the day but he is all but forgotten by today's "Classic Rock" radio format. Elton John helped to put him back on the map in a big way a few years ago when he cut an album with Leon. It also didn't hurt that Leon was inducted into the Rock n' Roll Hall of Fame that year with Elton doing the induction. A lot has been made of how the Rock n' Roll Hall of Fame doesn't matter. That may be true in a lot of cases but when it shines a much needed light on the body of work Leon has created, I'm somehow able to overlook horrendous missteps such as Madonna's induction.

[dime in the gutter]

really outstanding job, btb. those clips are righteous. other than the bst and david johanson....all completely new to me. lots of goodies there and will definitely look some up.

cool idea for aotw.

props.

and we'll always have dion.

[Slipkid42]

I used to say Chicago was great, before they got to the Roman numerals. Colour My World was my first slow dance song. Make Me Smile always did.
I Love You More Than You'll Ever Know is my favorite B,S & T song, but there are plenty of contenders (esp. I Can't Quit Her & the Clayton-Thomas era numbers And When I Die & Lucretia McEvil). Wiki says Alex Chilton, Stephen Stills & Laura Nyro were considered as the replacement for Kooper. Woulda changed rock history.
I had this Electric Flag album w/Bloomfield & Buddy Miles. Killin' Floor was extra funky:

I'm An Adult Now brought back memories of a time when I mistakenly thought I was an adult. Not sure if I am even yet.
Otis Rush caught my ear on the Anthology 2 album. Duane matched the bluesy soulful vocals w/an understated but beautiful performance.

I am less willing to credit Big Star (or the Shoes) as the pioneers of power pop (though I do love them both). I think the roots of power pop extended further back (say w/these guys):

j/k but certainly w/these guys:

The Joy of Cooking & Garfield Jeffries I dimly recollect. Will have to reacquaint my ears to them. The others I have never heard of, but I will check them out.
Another splendid job, bubba. Wouldn't you know I drew short straw to follow this AOTW. Figures.

[Clams]

I used to say Chicago was great, before they got to the Roman numerals. Colour My World was my first slow dance song. .

Pretty sure the first song I ever slow danced to was Reunited by Peaches & Herb.

[beantownbubba]

Interesting point, Slip, about the roots of power pop. W/out trying to identify a single source, I think your suggestions point out the larger context which is that way back when there was no need for a term like "power pop." It was just pop or rock music. It became power pop when that style of music was no longer the mainstream or looked at another way, when "rock" became such an encompassing term that it didn't mean much anymore (i.e. if Jimi Hendrix and Laura Nyro are both "rock" what does that label mean?).

PS So i guess steven stills was rejected by both the monkees and BS&T. I'm willing to bet quite a bit that he's the only person to hold that distinction I

[cortez the killer]

So i guess steven stills was rejected by both the monkees and BS&T. I'm willing to bet quite a bit that he's the only person to hold that distinction

Fuck Stills. Good job, Bubba.

[scotto]

Greetings, Bean. Late to the party (vacation, stuff, etc.), but great selections one and all. Good on you for the Shoes mention: Everyone should own "Black Vinyl Shoes."

[John A Arkansawyer]

j/k but certainly w/these guys:

I met a woman this weekend named after this song. She was working at the place we get our canoes and shuttle service from on the Buffalo River. Nice lady.

[Rocky]

OK I was lead to BTB's great lost music thread from here. viewtopic.php?f=6&t=7415

Since I'm a sucker for a lost classic and being turned on to new to me music, I've been listening and wanted to share my thoughts with y'all in general and Bean specifically.

Already knew about Jet Airliner by Paul Pena. If you haven't heard it, stop now and go listen to that song.

Blood, Sweat & Tears – I thought this was David Clayton-Thomas' creation. I vaguely may remember Al Kooper being involved but if I did I forgot it. Love You More Than You’ll Ever Know is my new favorite song from this band.

Chicago – It's true I prefer the earlier guitar driven songs better than a lot of songs in their catalogue. I often wonder how the guy that sang 25 or 6 to 4 became the guy that basically ruined this band. I really like Introduction which has the distinction of being the first song on the first side of the first Chicago record. Seriously I have no fucking idea how this band is NOT in the Rock 'n Roll Hall of Fame when some really sketchy artists are.

The Pursuit of Happiness – I had forgotten that these guys existed. I re-listened to I'm An Adult Now and remembered how clever and catchy that song is. Of all the other songs I listened to by them my favorite was Ten Fingers.

Garland Jeffreys – If there was any justice in this world New York Skyline would be the song that everyone loves and associates with New York and NOT that Billy Joel song.

Howard Tate – When Jerry Wexler and the swampers refer to your record as their bible, uhh, you have my attention. I have listened to classic soul music most of my adult life and I had never heard of this guy. What an incredible voice; kinda reminds me of Sam Moore. The original version of Get It While You Can is a stone cold classic. Truly a beautiful song. He absolutely mops the floor with Janis Joplin's version. Stop and Either Side Of The Same Town are keepers. Good stuff.