Yeah This One's No Secret-Born To Run

Well, it certainly has been too long since my last article. Just been kind of lazy about this, but I wanted to dig into possibly the best known album I've written about so far.

Bruce Springsteen's Born To Run was a breakthrough. Before Born To Run, Springsteen was a regional star with some national following. He was a vibrant stage performer and his band was honing considerable rapport and skill. His first 2 albums had met with decent critical but limited commercial success. The story is, that this was Springsteen's last shot with the record company and without a real hit album, he could be back at the Jersey shore working the bar scene for his loyal local following. Well... as it turns out, this one was Springsteen's version of Kirk Gibson's World Series home run, Michael Jordan's "The Shot", or the 80 U.S. Hockey team's "Miracle on Ice" (sorry about the sports comparisons in a music blog).

As a 21 year old in 1975, my favorite radio station (WMMS Cleveland) would play the title song every Friday at 6:00pm to kick off the weekend. At that time, Springsteen's most faithful fans outside of his Jersey home base may have been in Cleveland and the record company helped the cause by getting an early pressing to WMMS. Springsteen had me hooked from the opening chords of this great song.

But the Album Listening Experience is about the album, not just the song and make no mistake about it, this entire album is great. The songwriting became more accessible melodically. The lyrics told stories that was/is identifiable by the average listener. The E-Street Band showed itself to be just about the best band in the business, and the production, channeling Phil Spector's Wall of Sound technique made the tone powerful.

The album opens with Thunder Road. In my opinion, this is Springsteens best song ever. With an instantly recognizable harmonica and piano intro, followed by lyrics that are bursting with imagery, the song builds in intesity both in instrumentation and tempo til the saxophone/piano coda. This song is often (and deservedly) ranked very high on the list of greatest rock songs of all time. 10th Avenue Freeze Out loosely tells the story of Bruce and the formation of the E-Street Band. It features upbeat horns and highlight's Clarence Clemon's saxophone. The Night is a fine song who's theme is a popular one in Bruce Springsteen's catalogue. A hard working man who's labors during the day enable him to pursue his dreams of fast cars and the love of a good woman. Backstreets is a stately, powerful song about relationships. It represents further maturity in Springsteens songwriting and is an excellent closing song for side one.

Side 2 starts with Born To Run. As stated before, this one was the great song Springsteen needed to catapult his career and it delivered beyond even his lofty expectations. Once again, the imagery included motor vehicles and his desire of companionship and love with a partner who could share his vision. She's the One is a another favorite of mine (well...they're all great on the album...). This one carries a driving Bo Diddley beat throughout and once again hits the mark. Meeting Across the River is a stark depiction of the desperation of a drug deal. Once again, the imagery puts you close to the scene. With the featured instrumentation of the trumpet and piano, the musical theme mirrors the starkness of the lyrics. The album closes with the epic Jungleland. The scene is the street with music, gang life and love and desperation again as themes for the song. At 10 minutes, this is the longest song on the album and once again shows a maturity in Bruce's songwriting.

The cover of the album is also a classic and one of the most recognizable covers of all time. Featuring a black-and-white photo of Springsteen with his trusty Fender Telecaster leaning on his bandmate and friend Clarence Clemons, the cover is inviting the listener in to participate in the rock and roll inside the album. The cover is book style with Springsteen on the front and Clemons on the back. The back cover features the song list with musician credits listed for each song. The inside cover features a picture (B&W) of a smiling but tired-looking Springsteen...no doubt exhausted from the effort in creating this masterwork. The rest of the inside cover is the printed lyrics of each song. This is a cover designed for the Album Listening Experience...following along with the lyrics while listening and associating the musician with their performance.

I understand that Born To Run is not some hidden gem that few people know about. This is one of the great albums in rock and roll history. What I'm encouraging is to listen to the whole album. Hear the power in the music and lyrics of the songs that you may not know...the ones that classic rock radio doesn't play. This album brings you an artist meeting his moment. This is the career point where Springsteen became important to the medium and actually rose above it. Visit this album when there is the leisure time to listen undistracted. It is truly music of substance

Music Videos Have Been Slowly Killing Popular Music

"HAVE YOU SEEN (insert artist's name here) NEW VIDEO?"

For those who love music, that should be a fundamentally bothersome question. That's because music is first and foremost an auditory experience. This medium's basics involve sounds produced by singers and musicians who use their voices and instruments to produce pleasurable listening. I contend that since MTV and its offspring were thrust upon us back in 1981, the quality of popular music in general has been in steady decline.

I absolutely understand that music needs to be marketed and the music video is a powerful tool in that effort but at this point in time, the look of the artist and this marketing tool have completely overtaken the importance of song craftsmanship.

Once again, readers, those of you who are a bit younger than me will say that this is a rant of a geezer who can't move past the era of music he grew up with. I choose to say...BS! More and more, artists make their mark through casting calls where the "look" above the talent is the key. It is more and more rare that the artist hones his/her chops through constant touring, playing live to all manner of audience until they create their own unique style. And...even if they do, the record companies will force a change because each act must be sloted into a particular catagory or genre to maximize sales through downloads or CD sales.

Today, no one takes a chance on talent because the business trumps the talent. What we get is Britney Spears and the gaggle of the "next teen pop stars" dressed, drilled and cloned to take each other's place. The former ages beyond the target demographic so the next one has to be ready to emerge to replace (Miley Cyrus). We get boy bands put together through casting calls, one to sound like the other because that's what sells. We get county bands that are more pop than country and bear little in common with those that paved the way in that genre. And...this is all brought to us first by videos.

As I said, I understand marketing must be done. The most influential band of all time (Beatles) was heavily marketed. Keep in mind, there was substance to the talent before the marketing began. Hey, there was even a video...possibly the the most influential video of all time...A Hard Day's Night. Once again...look at the substance of this work.

My love of music really started with and remains based on the talent of the songwriter first. People like Paul Simon, Bob Dylan, James Taylor and of course Lennon/McCartney, Jagger/Richard were early favorites. As my tastes expanded and I listened to more music, I added Brian Wilson, Neil Young, Elton John/Bernie Taupin, Neil Diamond, Tom Petty, George Harrison, Ray Davies (Kinks), Bruce Springsteen, Henley/Frey, Jackson Browne, Warren Zevon, and Peter Townshend. This is a small list of some of the best of the era. What should stand out to you is that these people are responsible for writing, performing, and often have a major hand in what goes down in the studio that is eventually the final product. Who are the songwriters of today who's songs will continue to be played 20, 30, 40, 50 years from now?

The music produced by those I've named and so many of their contemporaries was first brought to the public on the radio, in record stores, or in through records/tapes/CD's played at your friend's house. It was heard first not seen. The test was...how did it sound, not how did it look. The next time someone asks you to watch the latest video by artist X, Y, or Z, close your eyes and just listen. Don't let the the dance moves, sexy video girls, special effects etc, fool you. Those thing can't make bad music good. Make the music stand alone. So much of it today does not.

The Who Sell Out-Great Album, Overlooked.

My introduction to The Who was seeing them perform a lip synch version of My Generation on the Smothers Brothers Comedy Hour in 1967. The windmilling Towshend, manic Moon, and explosions and instrument destruction at the end of the song will never be forgotten. That is often people's notion of the Who but before Tommy, before, Who's Next, before they became old men who performed at the Super Bowl, before they actually sold out to allow their songs to used by the CSI tv shows, the brilliant Who Sell Out was there. Let it not be forgotten that Pete Townshend Is one of the greatest song writers and minds of rock/pop music. The Who Sell Out showcases Pete's versatility as the leader and creative mind of the Who.

Sell Out is a concept album that kind of sneaks up on the listener. The concept is that it was intended to simulate a programming day of the pirate radio station, Radio London. In between the unrelated songs are commercials and public service announcements all written and/or performed by the band. The cover is a preview of the commercials with each band member hawking one of the products from the album. For those looking for that power chording, and lead vocals of Roger Daltry, this isn't the Who album to find those things in abundance. That is not to say the music doesn't stand out...it certainly does.

The Music: As I said, this music doesn't have the big rock sound people think of from the Who. There was only one single from the album. It actually is the one song on the album that features big power chords, great Moon drumming, and Daltry's lead singing all together. topping out at #9 on the U.S. singles chart, I Can See For Miles may be the only song from the album many of you know. Many of the highlights of this LP feature Pete as lead (or at least sharing the lead) singer. My favorite song is Mary Anne With The Shaky Hand. Apparently, while the other girls mentioned in the song have talents, Mary Anne's manual dexterity make her a very popular date. Other fine songs include Relax, I Can't Reach You, and Sunrise. Sunrise is really a Townshend solo song. Just him and an acoustic guitar with a un-rock-like jazz arrangement.

This is a perfect example of an Album Listening Experience. Sure there are fine songs performed by one of the best bands of the rock era but to get the full effect of the album, it should be listened to start-to-finish. Skipping around is not allowed. While there are the apropos-to-the-time radio jingles between the tunes, songs like Odorono (deodorant) and Medac (acne treatment) get are actually noted on the album track list.

The Who is my favorite band and with albums like Tommy, Quadrophenia, Who's Next, and Live At Leeds in their catalog, Sell Out gets overlooked...it shouldn't. When you listen, take the time to listen it in it's entirety.

Album Listening Experience: The Christmas Edition

Ok everyone. I guess this is my bah humbug to the season. If we are really honest, the music of the the season is at best...mediocre. There are radio stations that dedicate their entire programming to holiday music. Amazingly enough, this can start shortly after Halloween. Seriously!!?? Now there are a couple of songs that are nice to hear and certainly reflect the season. But, do we need every country singer, pop personality, or American Idol top 10 finisher to record a CD of Christmas songs that were probably done better by someone who is in all likelihood more talented than they could ever hope to be?

As a die-hard rock and roller, I'm also ready to admit that most rock and rollers who have produced Christmas and holiday music should just stick to rebellion, cars, love, sex, and drugs as subject matter. Their efforts are generally weak.

When it comes to Christmas holiday music, it's best to stick with the traditional. There are some beautiful carols that fit the spirit of the season. These include songs like Silent Night, Joy to the World (not the Three Dog Night version) and others of that ilk. And...I never want to hear Jon BonJovi, Steven Tyler, Roger Daltry, or similar rock star (male or female) performing these songs.

I contend that sounds of the season are best when you stick with the tried and true. Dean Martin, Perry Como, and of course the immortal Bing Crosby will always fit in. White Christmas is probably the best pop holiday song of all time. Then there's either Mel Torme's or Nat King Cole's version of The Christmas Song (Chestnuts Roasting...). Perry Como's It's Beginning to Look A Lot Like Christmas is another classic. Let's add in Rudolf the Red Nose Reindeer (Gene Autry version). I think you see where I'm going with this.

I guess I have to mention some "rock and roll" stuff here. Surely Elvis' Blue Chrismas gets high marks. Let's not forget Brenda Lee Rockin Around the Christmas Tree, Bobby Helms and Jingle Bell Rock. And finally, the great Chuck Berry and Run, Run, Rudolph. To get to a couple more relevent artists, I guess John Lennon's Merry Christmas/War Is Over or Bruce Springsteen's version of Santa Clause Is Coming to Town are ok. I don't need to ever hear Band Aid's Do They Know It's Christmas or Paul McCartney's Wonderful Christmastime ever again. Just not very good songs. That goes for Feliz Navidad and Christmas In Hollis.

I didn't want to forget to mention such drivel as The Chimpmunk Song and the loathsome Grandma Got Run Over By a Reindeer...or maybe if I had my way, everyone would forget them. For me, the novelty songs are the worst of all...with the exception of Cheech and Chong's Santa Clause and His Old Lady.

As I write this I'm almost talking myself out of saying anything done in the modern era or rock and pop is really any good. In reality, there is some nice Christmas music. Some of it can actually be inspiring. What kills it for me is that it starts too early then gets played ad-nauseum until it really means little or nothing by the time the day to celebrate arrives.

I guess in reflecting further, my rant is just some personal opinions that really shouldn't be taken too seriously. I know that many people out there love the season and the music they hear plays a role in their enjoyment of the season.

For the few of you that read this, may the the Christmas holidays season and the music bring joy and hope to your lives that carries past December 25, the new year, and beyond.

As a final note, my last two posts have revolved around holiday related music. After the first of the year, I hope to get back to writing about rock music and and the bands and artists that make it great.

Halloween Edition of the Album Listening Experience

Ok everyone, now that I have you gathered together, you need to know that overall, I don't care much for Halloween. It really is another manufactured "holiday" that has gotten out of control. Sorry if I offend. That being said, I know there will be many parties this upcoming weekend and my goal here is to make sure that you get some music in the mix that goes with the theme of the holiday but a little different and maybe a little cooler than the requisite songs like: The Theme from Halloween, Monster Mash, Purple People Eaters, Thriller, or Werewolves of London (a cool song, just a little overplayed).

Let's start with the writer of "Werewolves". Make sure that you have Exitable Boy and Roland the Headless Thompson Gunner in the mix. For more about those songs, see my blog about the Exitable Boy album posted previously. Believe me, these songs fit.
Pink Floyd is an excellect source of cool yet appropriate music for the bash. Be Careful With That Axe Eugene, and One Of These Days and both lyrically sparce but come with eerie music. These songs also clearly make a point about using sharp objects to get the job done. The iconic Album, Dark Side of the Moon includes a song called Brain Damage.

Throw in I'll Be Watching You by the Police and Jump Into the Fire by the late/great Harry Nilsson. These songs sound like songs of devotion and love on the surface but are really about creapy obsessions and stalking.

Lord Sutch was a late 60's early 70's British rock star. Little known here, he did reach some level of stardom on the other side of the pond. The album Hands of Jack The Ripper contributes the title song for this list of Halloween tunes. Overall the album is awful but with with contributors such as Jeff Beck, Jimmy Page. Keith Moon, and others, the music tends to overpower his general lack of talent.

Let's add Alice Cooper to the Halloween song mix too. The undisputed king of shock rock would contribute songs like Sick Things, I Love the Dead. Halo of Flies, Dead Babies, and Killer.

Finally, I had to add the album cover below. The title of Who bassist John Entwistle's solo effort, "Rigor Mortis Set's In" is a bit misleading but the cover art is kind of cool. The album is mostly reworkings of 50's type rock and roll but Entwistle still contributed the song Boris the Spider while with The Who. This song is a must for your music mix.

Almost forgot...special thank to Robin for reminding me of this topic

Cover Versions-How To Do Them Right

I've been tossing around the topic of cover songs for a little while. There are those who believe that unless a song is done by the original artist, it's gonna suck. There are those that tend to think that it's an easy way to fill the content of an album. Keep in mind that many of the greats covered their contemporaties both very early in their careers and others that continue to include cover versions of songs as part of their work throughout their careers. The Beatles covered Twist and Shout and Roll Over Beethoven. The Stones covered Not Fade Away and Route 66. The Byrds practically built their career by covering Dylan songs like Mr. Tamborine Man, Chimes of Freedom, My Back Pages and others. Obviously, not all cover versions should be made. Just try listening to William Shatner's Lucy In the Sky With Diamonds or Behind Blue Eyes by Limp Bizkit.

There are some really fine albums of cover songs worth a listen. These albums usually come in two catagories: One artist who covers a variety of written by others or compilation albums of one artist's songs covered by a variety of artists. Here are some that I think are notable and worth a listen.

David Bowie-Pinups

There are some very fine versions of some great songs. Bowie is as much as a song stylist as a singer and and one of the most unique performers rock music has ever seen. Don't expect Pinups to have the flash of earlier works such as The Rise and Fall of Ziggy Stardust, or Alladin Sane. Bowie treats songs like Friday On My Mind (Easybeats), See Emily Play (Pink Floyd), Shapes of Things (Yardbirds), Anyway, Anyhow, Anywhere (The Who) with respect then adds his usual flair. There more songs originally done by artists like The Kinks, Them (Van Morrison's original band), and The Pretty Things. This album also is the last studio album featuring members of Bowie's band The Spiders From Mars which features the great Mick Ronson on guitar.

Todd Rundgren-Faithful

Really, only side one features cover songs. On this album, Rundgren, the studio wizard, turns to Rundgren, the musician, who gives us spot-on versions of some great music. Try distinguishing his version of Good Vibrations from the Beach Boy's original. The other songs on side 1: Rain and Strawberry Fields (Beatles), If 6 Was 9 (Jimi Hendrix), Happenings Ten Years Ago (Yardbirds), Most Likely You Go Your Way (Dylan) are all performed with meticulous care, making sure he stays true to the original version. For me, this an enjoyable listen.

Dwight Yoakam-Under The Covers

While I'm not a fan of much of country music, I am a fan of Dwight Yoakam. This album shows that Yoakam is far from just a country artist. He runs the gamut; performing songs by artists as diverse as Roy Orbison, Sonny Bono, The Rolling Stones and The Clash. The album leads off with Orbison's Claudette then follows with Train in Vain (Clash). Other highlights for me are Things We Said Today (Beatles), Wichita Lineman (Jimmy Webb), and The Last Time (Stones). Dwight really is a fine singer and does a great job with these and the rest of the songs on this album.

Enjoy Every Sandwich: The Songs of Warren Zevon

I recently wrote about Zevon's Exitable Boy album. As I said there, I think Warren Zevon was a unique and great songwriter. Just as really notable artists showed up to help with the recording of Zevon's final album, The Wind, they also showed up for Sandwich. How's this for a lineup...Poor, Poor, Pitiful Me (Jackson Browne/Bonnie Raitt), My Ride's Here (Springsteen), Lawyers, Guns, and Money (Wallflowers), Reconsider Me (Steve Earle) and...wait for it...Werewolves of London performed by Adam Sandler. I hate to keep repeating myself but there are great songs performed by great artists (Yes, even Sandler does a great job). Warren's son Jordan gets to perform the previously unreleased compsition, Studebaker and other artists such as Don Henley, Bob Dylan, and long time friend Billy Bob Thorton make contributions. This is a fine compilation album that highlights songs from a cross section of Warren Zevon's career.

One Step Up, Two Steps Back: The Songs of Bruce Springsteen

Bruce Springsteen is a prolific song writer who (like him or not) is right up there with people like Dylan, Paul Simon, and Lennon/McCartney as the greatest of the last 50 years or so. It's well known that he writes more songs than can ever make it to his albums. There's even been a multiple disc cd issued of great songs that just didn't make the cut on other albums issued. Well, One Step up is a 28 song, 2 disc compilation of Springsteen songs performed by a wide variety of artist both well known and obscure. With all the songs on this album, I can only mention a few here. Just like the Zevon compilation noted above, the diversity of artist is truly a tribute to the songs and artist that wrote them. The lineup of artists is staggering and includes John Hiatt, Joe Cocker, David Bowie, Richie Havens, Nils Lofgren, The Knack, Marshall Crenshaw, Ben E. King, Gary "U.S." Bonds, Donna Summer, Gene Clark, and more. Some of my favorites are Johnny 99(John Hiatt), Don't Look Back (The Knack), and Protection (Donna Summer). Just give it a listen.

Covers can be really bad...what could be worse than Shatner's spoken word version of Lucy In the Sky With Diamonds...or they can be great. There are plenty of the "great" variety mixed in on the albums mentioned here.

Led Zeppelin III: You Know...the "Acoustic One"

One of my major goals for the A.L.E is to go beyond the playlist classic rock radio presents to the listener. There is no shortage of Led Zeppelin on classic rock radio...there is however a shortage of "deep cuts". That brings me to Led Zeppelin III.

1970 brought a different Led Zep to the record buyers of the day. Zep I and II were powerful blues based heavy rockers. Those first two Zeppelin albums were the very definition of Hard Rock. Keep in mind, that those first 2 albums reached huge sales without the benefit of hit singles. Zeppelin was not dependent on the sales of singles (you know...45's) to push the album sales. In fact, AOR (album oriented radio or rock) thrived with Led Zepplin as a major artist for their programming philosophy. The legions of Led Zep fans who were waiting for the next Dazed and Confused or Whole Lotta Love would have to wait. What III did bring those fans was a more mature sound with Robert Plant emerging as a stronger song writing partner for Jimmy Page. What that also meant is that a different sound meant less than stellar reviews and lower sales.

In researching this album for this blog, I found that the music for III was heavily influenced by where the music was written and rehearsed. Page and Plant spent time at an 18th century cottage in Wales called Bron-Yr-Aur. That cottage did not have electricity so composing was restricted to the use of acoustic guitars. Rehearsal was at Headley Grange a rural mansion that provided a relaxed atmosphere for perfecting the songs written at Bron-Yr-Aur.

Despite the luke warm reviews, the music stands strong 40 years later. Side 1 features the harder edge songs. While III is the "acoustic Zep album" there is still heavy and electric included. With Immagrant's Song opening side 1, the listener no doubt finds the familiar driving guitars of Page, the powerful drums from John Bonham, and the wail of Plant much to their liking. The next song, Friends, is primarily acoustic and lets you know that this album isn't I or II. Celebration Day gets electric again. Since I've Been Loving You follows and is a Blues through-and-through...for me a highlight of the album. Side 1 ends with Out On the Tiles. One more shot of heavy rock.

Side 2 starts with Gallows Pole. I mentioned this song in my blog post "So You Think You Can't Rock On An Acoustic Guitar?" With the bass guitar as the only electric instrument, this is a great example on how you don't need electric guitars turned up to 11 to rock. Tangarine may be the best song on the album. Page's beautiful acoustic intro riff, sets the stage. Plant shows he can really sing and the addition of a pedel steel guitar adds to the atmosphere. That's The Way, Bron-Yr-Aur Stomp and Hat's Off to Roy Harper all show Page's skills with different acoustic guitar styles. Simpy put, this is a great album side...unfortunately, not enough people have heard anything past Gallows Pole.

Led Zeppelin were a unique and influential force in Rock Music. Their style was unmistakable. Their talents undeniable. Few will list Led Zeppelin III as their favorite or their best album. Their isn't a Stairway to Heaven among the songs but then, maybe that is part of it's strength and among the reasons that I appreciate that album. Strong songs performed well in a variety of styles. I was reacquainted to this album when I borrowed my son's car for an errand and Zep III was in the CD player. I'm glad that was in the player that day.