“September Gurls” (Alex Chilton) Copyright 1974 Koala Music Corporation/Almo Music Corporation, USA
One song can’t really define a whole genre, but “September Gurls” by Big Star comes pretty damn close – it IS the sound of Power Pop. Jangly guitars, plaintive vocal, angelic harmonies, all neatly wrapped up in under 3 minutes. It became a template to inspire bands as diverse as R.E.M., Cheap Trick, The Bangles, KISS, and The Replacements. Discover why Big Star is often called “the most influential band you’ve never heard of”.
“September Gurls” (Alex Chilton) Copyright 1974 Koala Music Corporation/Almo Music Corporation, USA
Save 15% off t-shirts & merch from your favorite bands by using our discount code lovethatsong at OldGlory.com!
TRANSCRIPT:
Welcome, seekers of knowledge and keepers of the flame. This is the “I’m In Love With That Song” podcast, part of the Pantheon family of podcasts. My name is Brad Page, and each edition of this podcast, I pick one of my favorite songs and we explore it together on our mission to understand how great songs come together. We don’t get into music theory here; no musical expertise is necessary. We’ll spend our time looking at the arrangements, the performances, and the production that make each song great.
Today we’ll be listening to one of the defining bands in power pop history. In fact, this is one of the defining songs of the power pop genre. People often talk about artists that were overlooked or not appreciated in their day, but went on to become legends and inspirations for future generations. Well, there is no band that exemplifies that better than this band. In fact, this band is the poster child for “the most influential band you’ve never heard of”. This is Big Star and their classic song, “September Gurls”. We covered Big Star on this podcast before, back on episode number 73, where we explored “The Ballad of El Goodo”, a song from their first album released in 1972. So, on this podcast, we’ll pick up the story where that episode left off.
They called that first album “#1 Record”, somewhat ironically, but also with high hopes– and rightly so, because that album is a masterpiece. It got great critical reviews. But there was one big problem. The album was distributed by Stax Records, and Stax was going through a rough time at that point. They didn’t have the money or the ability to promote it or distribute it properly. So even when the band got good reviews or got some radio play, people couldn’t buy the record in the stores because the stores just didn’t have it. It’s pretty hard to sell an album when it’s not on the shelf. So, the record flopped commercially.
Guitarist and singer Chris Bell, who was really the driving force behind the band up until that point, fell into a deep depression, and in November 1972, he quit the band. The remaining three members stuck together for a while, and though they never officially broke up then, they weren’t really working together either. Enter John King, who was working on promotion at Ardent Studios, which was Big Star’s home base. And he came up with this idea to hold a rock writers convention in Memphis. The critics were the one audience who had found Big Star. So, John King invited 150 rock writers and record industry people to the Holiday Inn for a two-day convention. Most of the big names and rock criticism were there. Lester Bangs, Lenny Kaye, Cameron Crowe, Ed Ward, Stanley Booth– they were all there for this convention, which was really just an excuse for Big Star to play a show in front of a receptive and very influential audience. So the three remaining members played the gig, and the critics loved them. That gave the band some hope that maybe it was worth making a second album.
So the band went back to work as a three piece. Jody Stevens on drums, Andy Hummel on bass, and Alex Chilton on guitar and lead vocals. The resulting album was called “Radio City”, released in February 1974. The recording was done very efficiently with John Fry producing. The basic tracks were recorded in one, two, maybe three takes. The drums were recorded with a minimal amount of microphones, just four mics. But those mics were meticulously placed, resulting in one of the great drum sounds.
Andy Hummel primarily played a Fender Precision bass, plugged directly into the console, with some vintage tube compression applied. And Alex Chilton played a Fender Stratocaster most of the time, through either a Fender or a Hiwatt amp.
The song “September Gurls” is nestled away towards the end of side two of the album. Considering that, to many people, this song is like the ultimate Big Star song, if not the ultimate power pop song, it’s kind of shocking that it’s unceremoniously placed where it is on the record. You’d expect it to get a more prominent placement. “September Gurls”, and that’s girls spelled with a “u” – g-u-r-l-s, was written by Alex Chilton. It was performed by Alex Chilton, Jody Stevens and Andy Hummel, and produced by the band with John Fry. It clocks in at two minutes and 49 seconds. Tight, sweet, perfect. Not a second wasted.
It opens with the sound of Alex Chilton’s Fender Stratocaster mixed towards the right channel. You can hear Andy Hummels bass note come in there, too.
Now, one of the defining characteristics of power pop is what’s often described as the sound of “chiming” guitars. Well, what does that mean? What is a chiming guitar sound? Well, I submit that this is the textbook example of a “chiming guitar”. And you also hear the first few notes of another guitar part there, panned to the center. That is Alex Chilton playing a mando guitar. A mando guitar has a body shape and roughly the size of a mandolin, but it’s tuned like a guitar. It’s also a solid body electric, not an acoustic instrument. Alex will overdub parts on the mando guitar throughout the song.
And that’s it. Just those two guitar tracks, the Strat and the mando guitar. But as we play through the song, listen to how rich and full this song sounds with just those two parts.
Let’s listen to just the backing track there. The bass, drums and guitar were all recorded live, and this was actually done on the second take, with the mando guitar overdubbed. And that part is really just doing some minimal ornamentation here.
Now let’s hear that again, this time with the vocals, and we’ll play through the first chorus.
The mando guitar is playing a descending, arpeggiated part that’s simple, but just perfect. Then there’s a short little interlude before the second verse, with the mando guitar playing some fills.
Let’s listen to the bass and the drums during this verse. Again, it’s not complex, but I just really like what they’re doing here.
Now let’s spend a minute with Alex Chilton’s vocals. To me, Alex always had this wistful, plaintive ache to his voice that adds some poignancy to his vocals. Even if the lyrics aren’t particularly deep, the emotion is there.
That gets us to the bridge, or what’s often referred to as the middle eight, because typically it takes up eight bars. Although in this case, I think it’s just seven. Here’s that instrumental track, without the vocals, that segues into a guitar solo played on the mando guitar.
But what I really like here are the backing vocals. That drum fill is great. It’s just this cathartic release before the final verse. I like how all the instruments pause to let Jody Stevens become the focus for a second, before they come back in for the verse. Let’s hear that again.
Let’s bring up the vocals one more time.
I love that little vocal “woo” at the end there. Let’s play that back.
And the backing vocals return here, too. And that’s another great drum fill from Jody Stevens.
“September Gurls” by Big Star.
They released the album “Radio City” in February 1974 and hoped this time, things would go better. But they didn’t. This time it was Columbia Records who dropped the ball. They had taken over distribution, but in the end, they had no real interest in Big Star and made little, if any, attempt to support the album. It sold 10,000, maybe 20,000 copies. That’s hardly anything for a nationally released record. It disappeared, and with it went any hope of success.
Andy Hummel was the next to quit. He left and went back to college. The band played a few more gigs with John Lightman on bass, but that was it. Alex and Jody did go back into the studio to record some more tracks, which were eventually released as their third album. It was called either “Third” or “Sister Lovers”, depending on which version you got. That is a profoundly strange album. Nothing like the first two, but for some people, that’s their favorite Big Star album.
Chris Bell, the original guitarist, singer, and songwriter for Big Star, died in a car accident on December 27, 1978. Unfortunately, he didn’t live long enough to see the band that he put his heart and soul into finally get its due in the mid-nineties.
Alex and Jody reformed Big Star, released some live albums and cut an album of all new material in 2005. Alex Chilton died of a heart attack on March 17, 2010. Andy Hummel, who didn’t participate in the reunion, passed away from cancer on July 19, 2010.
But at the time of this recording, Jody Stevens is still with us, still playing drums, and he’s now the CEO of Ardent Studios.
There’s a pretty decent documentary about Big Star, it’s called “Nothing Can Hurt Me”, which I’m sure is available on one of the streaming services. If you’d like to know more about Big Star, check it out.
And thanks for checking out this episode of the “I’m In Love With That Song” podcast. A new episode will be coming your way very soon, and all of our previous episodes, including the other one on Big Star, they’re all available on our website, lovethatsongpodcast.com.
This is the part where I’m supposed to tell you to leave a review of the show and to “like and subscribe” to the show. I guess if you’ve never listened to a podcast before, then you wouldn’t know the drill, but I think you all know what to do. Sharing the show with your friends really does help, though, so that’d be great.
We are part of the Pantheon podcast network, home of the greatest music related podcasts. Thanks for listening to this episode on Big Star and “September Gurls”.
by Al Stewart - Copyright 1978 D.J.M./Frabjous Music Approximate Music
Singer/Songwriter Al Stewart came out of the London folk scene, but by the mid-70’s struck it big with MOR/AM Radio hit, “Year Of The Cat“. But there’s more to this Mr. Stewart than just that one hit. On this episode, I’m joined by fellow podcaster (and Al Stewart fan extraordinaire) Craig Smith to discuss the deep cut “Life In Dark Water“.
“Life In Dark Water” – Al Stewart Copyright 1978 D.J.M./Frabjous Music Approximate Music
TRANSCRIPT:
Brad Page: Buy me a ticket on the last train home tonight, because I gotta get back for the “I’m In Love With That Song” podcast on the Pantheon Podcast Network! I’m your host, Brad Page, and this episode, we’re exploring a song by Al Stewart– a deep cut from his 1978 album “Time Passages”; this is a song called “Life In Dark Water”.
Now, I gotta admit, I don’t know all that much about Al Stewart, really, but luckily, I happen to know somebody who does: Craig Smith, former host of the Pods and Sods Network, has joined us on this show before, and he’s the biggest Al Stewart fan I know. So I figured, let’s bring Craig back on the show, and we’ll all explore “Life In Dark Water”.
Brad Page: All right, well, Craig Smith, thank you for joining me on this episode to talk about Al Stewart. You are the biggest Al Stewart fan I know, so I couldn’t think of anyone better to come on and, uh, do this with me. So thank you for joining me.
Craig Smith: Absolutely. There are others of us around, too… you may be familiar with Brian Linnen…?
Brad Page: Yes, I know that young man– the upstanding citizen Brian Lennon. For the most part, my knowledge of Al Stewart is fairly minimal. You know, usually I do a ton of research for these things, but I thought I would be lazy and go to the expert I know to take care of that. So, let’s talk about Al Stewart. And what we’re gonna do is we’re gonna be talking about a song that, I guess I would put this maybe in, like, the middle of his career?
Craig Smith: Yes. Almost dead middle.
Brad Page: Yeah, from the “Time Passages” album. And let’s talk about how he gets to this record. If you could fill me in, because I know none of this, so tell me about Al Stewart up to this point.
Craig Smith: Okay. I should preface by saying that Eric and I were fortunate enough to interview Al Stewart in the very, very early days of Pods And Sods, which was a podcast that I was part of for ten years. But he comes from kind of the London scene in the mid-sixties, at a place called… now, I’ve heard it referenced as “Le Cousin”, but during our interview, I’m fairly certain he called it “Les Cousins”… which was a folk club. He played there with people like Paul Simon, Roy Harper, who was also somebody that I know you and I both admire, also comes from that same pocket of time. His first album came out in 1967. It was called “Bedsetter Images”. It was later re-released as “The First Album” with some different tracks. What is more interesting is that his second album, “Love Chronicles”, beat John Lennon by a year for throwing, uh, the very weighted f-word into a song, which is part of the title track, which is a sidelong folk number going through a bunch of relationships that he was in.
Craig Smith: His first four albums, very folky. And then, after that, starting with “Past, Present and Future” into “Modern Times”, snd then you start to move towards “Year of the Cat” & “Time Passages”. You’re getting into his commercial peak, as it were. He meets Alan Parsons– and Alan Parsons, I believe, did some work on modern times also— but he started to get more radio play around this time with a song from “Modern Times” called “Carol”.
Craig Smith: Of course, “Year of the Cat” is the song that, over here, propels him. It was a huge hit here, of course. “Time Passages” is the follow-up album. There’s another hit, the title track, flies very close to the blueprint “The Year Of The Cat” was built from.
Craig Smith: And then after that, he did a great album after “Time Passages” called “24 Carrots”, had a killer band called Shot In The Dark. Amazing live record after that. And then kind of after that, his releases get a little more, I don’t know that I want to say “electronic”… a little more “synthetic”, as eighties albums are want to do. But so much good stuff in that catalog. Even going in the later years, he never lost it.
So, to kind of just sum up what he is: I can’t remember if he said this during our interview or if I read it somewhere else, but he said ideally what he considers himself is a lyricist, period. And I think his singing is fantastic. It may not be everybody’s cup of tea, it is a very mellow leaning towards yacht rocky delivery, which I happen to love. But I think once you get into the middle period of Al Stewart, it kind of goes from folk to more of like, I don’t even know if this is the right term, but like a “progressive folk”, there’s more arrangement-wise going on in these songs. And across the board, fantastic lyrics. Amazing lyrics. I’m an idiot when it comes to history and things like that… the funny thing is, if you’re looking at an Al Stewart lyrics without looking at who penned the song, it could either be Al Stewart or Iron Maiden. Given the balance of British history in both of their catalogs, it’s amazing, right? But yeah, what a rich catalog. Absolutely love it.
Brad Page: I’m not familiar with any of the early stuff… like most people, my first exposure to him was “Year of the Cat”, which was a bit of a mixed blessing, because this is back in the day when AM radio was still king.
Craig Smith: Oh yeah.
Brad Page: And that song was a big hit on AM radio. And at that point, AM radio was so formulaic and formatted that you knew exactly what song they were going to play, at what time, to the point where, like, on the school bus, you know, they would play the AM radio and without fail, we’d always be at one kid’s bus stop and they would play “Night Moves” by Bob Seger. And then, like two stops later, it would be “Year of the Cat” by Al Stewart.
It got to the point where I hated both of those songs, because you just heard them, like, every day. And it was, that’s what AM radio was like back then. When you have a song that just kind of– you’re sick of, sometimes it can throw you off a little bit. But “Time Passages”, that song I always liked quite a bit.
We’re gonna take a look at a song from that record. This is a song called “Life In Dark Water”, and it always jumped out to me from this record. I wouldn’t call it “heavy”, but it’s an intense song. It definitely has that Alan Parsons kind of Pink Floyd lite production to it. It’s very rich production, the whole album, but particularly in this song. Do you know the history of this song?
Craig Smith: Not too much of the history, aside from, there are some things that I can tell you about things that he said when introducing the song live on the “Time passages” concert. This is what he says: “This is a number which is about being stranded alive, thinking that you’re the last person in the world alive, alone on a seabed in a nuclear submarine. It’s a psychedelic sea song in which we never find out if the narrator is alone or not.” And then he goes on to say that “the Marie Celeste, which is referenced in the lyrics, was a ship found floating off the coast of the British Isles in the Atlantic Ocean with nobody on board, half eaten meals, and half smoked cigars. One of the great mysteries of the sea. In his trance, he thinks that he’s back in the Marie Celeste.” However, Al is wrong about this…
Brad Page: Yeah, the ship was actually called the Mary Celeste, not the Marie Celeste, but he’s not the only person to misname it. A lot of people called it the Marie Celeste, but it was the Mary Celeste. It was a ship built in Canada, registered in the US, that just showed up off the coast of wherever it was, with nobody on board and, you know, some damage, but not trashed or anything. And the lifeboat was missing. And they never found any of the crew. Just kind of one of those creepy stories. But interesting.
Craig Smith: The kind of story that podcasters make a mint off these days, right?
Brad Page: If we were a true crime type podcast, we’d dig into that.
Craig Smith: Never too late! But when he, when he introduces the song, he does say Mary, just to be clear. But in the lyrics, I believe it’s printed Marie. And he, in the song, he pronounces it Marie with a rolling r, which I cannot do. Yeah, that’s the Mary Celeste.
Brad Page: Yeah. It’s very interesting and intriguing lyrically, and I guess we can kind of talk about it as we go along. But that was one of the things that pulled me into the song.
Craig Smith: And musically as well.
Brad Page: Yes.
Craig Smith: When I got into Al Stewart, I don’t know that I would have expected a song like this. It’s just such an epic sound.
Brad Page: Yes.
Craig Smith: That was the word that I kept coming to.
Brad Page: Yeah, absolutely. It’s not really something that I would have expected from Al Stewart, if you only know the few hits. This is a lot… It’s darker, it’s a lot more atmospheric like. This is a lot spookier.
Craig Smith: Yeah.
Brad Page: All right, well, let’s dig into the track. It opens relatively atmospherically with kind of a riff or chord change that sounds pretty familiar. It’s the James Bond chord change. Right?
Craig Smith: The chords, from what I looked up– and this can be wrong or not– but on the intro, the chords are D Minor, B Flat with a D bass, Dminor6. So that’s where that note is moving around, giving it that James Bond feel. Yeah. Good ear. I didn’t pick that out.
Brad Page: I mean, I’m not saying that it’s like a knockoff or anything, but it’s just, it’s very effective. I like it.
Craig Smith: It works really well.
Brad Page: And then the first verse, he’s talking about “Living in the bottom of the sea, down metal snake corridors, steely gray engines hum for nobody but me”.
Brad Page: I mean, it puts you in a place, right? You could feel this guy, alone on this submarine, right from the beginning. I’m wondering, “How did this guy get here? Why is he all by himself?”
Craig Smith: You’re dropped into the story.
Brad Page: Yeah, right! Yeah, you’re literally dropped in the middle of the story, trying to figure out what is going on.
Craig Smith: And even the line “No message crackles through the radio leads”, just another worded so well, you know?
This is one of those songs for me where it’s the music and the lyrics are both a ten out of ten.
Brad Page: Yeah. I mean, they’re intertwined, right?
Craig Smith: Yeah.
Brad Page: The mood of the music fits the mood of the lyrics so perfectly. And it takes a certain level of confidence to just plop people down in the middle of the story. Like, there’s no setup for this, right? There’s no, “We set sail from the port”, none of that. Like you’re just suddenly at the bottom of the ocean, alone on a submarine with this guy, not knowing, as he doesn’t know, apparently, who else is out there.
Craig Smith: Yeah. Fantastic. That’s what that “Year of the Cat” money can make you write songs like that.
Brad Page: Yeah.
Craig Smith: Drop the listener wherever you want.
Brad Page: Right. And you can afford to make a record that sounds this good too.
Craig Smith: One of the things that I really love about the arrangement: the piano tinkles.
Brad Page: Yes. Me, in my notes, I had basically the same words you’re using. I had “tinkling glass-like piano”. Uh, yeah, just very… It’s like icicles in a way, you know what I mean?
Craig Smith: Yeah, yeah, absolutely. Like something visual was coming to mind, I think that describes it very, very well.
Brad Page: Let’s talk about the second verse here. You’ve got some, like, sonar pings in the background. I really like that. They’re very subtle.
Craig Smith: Yeah. Not completely unlike the pings we hear in another masterpiece that I know you and I both love.
Brad Page: Yes. Where those are much more upfront. I mean, they’re kind of like the key to that song.
Craig Smith: These are very subtle.
Brad Page: Yeah, yeah. The bass is playing octaves.
Craig Smith: Yeah.
Brad Page: The line, “jet planes nose through the clouds above me, they look for radar traces of me to see”.
So, then I started thinking, “Well, did this guy, like, hijack a submarine?” Like, why are they looking for him? How does he know that they’re looking for him? Are they really looking for him? Or is he imagining that?
Craig Smith: Right. That was my thought. Like, how does he know they’re looking for him? This is kind of likely all in his head.
Brad Page: Yeah, but you never get an answer to any of this, which is, you know, the song always leaves you to decide.
Craig Smith: Exactly. And it could also be just like his hope, you know?
Brad Page: Right.
Craig Smith: That there is somebody out there looking for him.
Brad Page: Right.
Let’s talk about his voice, because you kind of mentioned that it’s, um, it might not be for everyone. I guess it’s a little bit of an acquired taste. I mean, it’s an extremely “white guy voice”, right?
Craig Smith: Oh, yeah.
Brad Page: There’s no R&B or Soul to his singing. And he does have, you know, he’s got a bit of a lisp, which is something that I can relate to. You don’t hear that a lot on pop records. You certainly would never hear that today. You’d never make it on “American Idol”.
Craig Smith: Yeah. Oh, no, absolutely not.
Brad Page: But how did you take his voice? I mean, were you immediately taken by it? Did it put you off at all or…
Craig Smith: It didn’t put me off. Um, “Year of the Cat” is part of my DNA. One of those songs that, before I got into Al Stewart, kind of like… and you know what, here’s another guy with a very similar voice” “Alone Again, Naturally”, by Gilbert O’Sullivan.
Craig Smith: But, um, I think that I didn’t have that roadblock at all. Like, I knew “Year of the Cat” from being a kid. And I’m like, oh, this is this dude’s voice. It doesn’t, there’s nothing about it that I find unpleasant. It’s– I don’t know that smooth is the, you know, because that’s going to make him sound like a crooner, but there’s absolutely no grit in Al Stewart’s voice in that respect. It is very smooth. So, like, Al Stewart’s voice isn’t going to, that’s not going to slow me down any. How about you?
Brad Page: Well, I think it, I’m not sure I’d say it was off-putting… I thought it was a little strange, I didn’t necessarily love it, but again, that was kind of all mixed up in the thing of just being sick of “Year of the Cat”.
Craig Smith: Yeah.
Brad Page: It doesn’t bother me. Um, but I can see why some people might be turned off by it.
Craig Smith: I get it.
Brad Page: But what I like about it today is that it’s not generic.
Craig Smith: Oh, yeah.
Brad Page: Nobody else sounds like that. And today, I think because of the influence of things like “American Idol”, singers are so generic and they’re so auto tuned and everything, that we’ve lost a lot of this individuality.
And then there’s this bridge, which is pretty incongruous for the rest of the song. It’s kind of this very Beatle-y, a British music hall sound.
Craig Smith: Oh, yeah.
Brad Page: And there’s this kind of slapback delay on the vocal. Just a minimal delay time. Almost a radio broadcast sound.
Craig Smith: Yeah, absolutely. Radio EQ.
Craig Smith: And we’re moving into, like, tack piano. A very chorus-effected piano.
Brad Page: It’s that kind of player piano, old barroom feel.
Craig Smith: Stride. Like Stride piano.
Brad Page: Yeah, yeah. The guitar is there, but it’s just kind of doing these kind of staccato chords. It’s really the piano that comes to the front. The bass is almost, kind of feels like what a tuba would be playing, you know, almost an Oompa kind of sound. It’s a very interesting bridge to put into this song.
Craig Smith: The one thing that’s interesting about this part to me is that, on the record, it really feels shoehorned in, in terms of how the arrangement switches on a dime.
On the live versions– or the live version, I should say, that the whole band plays on in the 1978 show– It’s a lot smoother transition, because they’re all playing it live. But, like, on the record, it does kind of feel like an edit. I’m not entirely sure if it is, but it feels like a splice onto a different, you know, something different. But then the way it kind of melts back into the song with that held note and the reverb is, is mesmerizing. So good.
Brad Page: Yeah. So we have this bridge out of nowhere that ends with this kind of big power chord that takes us into the guitar solo. And what a guitar solo.
Craig Smith: It is one of my favorites. It’s hard not for me to throw this in with, like, “Comfortably Numb”, but it’s one of those songs… I think this guitar solo, there is not one note that isn’t perfect. Tim Renwick playing it. A monster, monster guitar solo.
Brad Page: Yeah. Tim Renwick was, uh, one of those British studio guys that just played on lots of records. Of course, he worked with Alan Parsons a lot, which is probably how he ended up on this project. He played with Pink Floyd live, and he worked with Eric Clapton and Elton John; just, you know, one of those guys with a pretty impressive resume. I’m pretty sure he’s playing a Fender Strat. It sounds, uh, pretty Strat-y to me. But it’s just, it’s a great guitar tone; it starts kind of clean and then it gets a little more distorted, more bite to it, more echo in the middle. He’s doing these harmonics. It’s very cool.
It kind of gets heavier and more intense as it progresses, and just ends with that big power chord. It’s a really well-structured solo, really well performed. And the way they’ve recorded it just makes it even better. It’s a great moment. Yeah. He deserves a gold star for this one.
Craig Smith: Absolutely. And my favorite thing about the solo, this was actually the reason I kind of dug up the chords, I kind of wanted to see what that big moment in the solo, what it was doing. So most of the song’s in D Minor, or kind of moving around a D Minor chord. The part of the solo that I’m thinking of is when it goes, you’re moving into major chords there. You’re moving into an F, C, A, B Flat seven and a D Minor. And then, right as it goes to that run, that’s an A Flat Diminished chord, resolving to an A, which is just an amazing run of chords for that solo. Because that solo, as great as it is, once it starts snarling, when it really takes off on that F chord, it is a chills moment. And great as the whole solo is, that one moment when that string bends is just one of my favorite things in the Al Stewart catalog. Absolutely fantastic.
It’s one of those things that, you know, when you’re listening to this record, this comes around and you’re like, wow, I didn’t expect a minor key, at least not moody like this song, by Al Stewart. You’re getting into the song and the song’s great, and then this guitar solo completely pushes it over.
Brad Page: Yeah.
Craig Smith: And you didn’t, you listen to the song and you’re like, yeah, this song probably can’t get better. And it does– you know, that’s one of the best things about it. Like the way it does soar during that section and we have the first verse, the second verse comes in, brings in the drums by the time we’re in the solo, like everything is kind of just peaking. And I love it. Absolutely love it. It’s always a chills moment for me. Always.
Brad Page: It’s so well structured. It’s cinematic.
Craig Smith: Yes, absolutely.
Brad Page: Yeah. And like you said earlier, this is track number three on this album, which is an interesting placement for it. This, to me, feels like a side one ender, or a side two, or even maybe the last song on the album. But to put it that far up front on the record, it’s kind of a shock.
Craig Smith: Yeah. Yeah. And coming after… the one thing, the one issue that I kind of do have with the “Time Passages” album is I don’t love the sequencing of it. I don’t know how I would restructure all of it, but “Life In Dark Water” would absolutely be a side ender, on either side. I think that “End of the Day” is a great song to end the album with, but “Life In Dark Water”, I think, should absolutely be at least a side A closer. That’s me sidetracking on something not important to anybody except me…
Brad Page: Well, you know, I’m an album guy, and so a lot of times how I feel about songs is impacted on, in the context of an album, right? Because I tend to not listen to songs, I listen to albums. As much as this podcast is about songs, I typically, you know, I’m putting on an album and I’m listening it front to back, and how things feel in the context of that. So I’m with you.
So after the guitar solo, we get into the third verse. There’s guitar fills throughout the verse. More tasty Tim Renwick playing. This is the verse where we get the lines “No memory, tell me what’s wrong with me why am I alone here with no rest”.
Brad Page: And then there’s the Marie Celeste or Mary Celeste reference: “And now the name of the ship’s not the same. How long has it been Marie Celeste”.
Craig Smith: Now, this is something that I didn’t even realize this until I read the lyrics: Not kind of clocking what the line before it was. I always took it as “How long has it been” comma “Marie Celeste”. Like he was talking about another ship.
Brad Page: Or referencing it, right?
Craig Smith: Yes, yes. I never thought that he was speaking about the ship that he’s on, right?
Brad Page: He’s, I guess, kind of losing it.
Craig Smith: Yeah.
Brad Page: And he thinks he’s on the Marie Celeste.
Craig Smith: Yeah. Which completely opened up as soon as I read it. I was like, “Oh, this?” I never even realized that’s what he was trying to get across there.
Brad Page: “Tell me what’s wrong with me”– I don’t know, we don’t know! We don’t. And then, um, the verse wraps up with “Now there’s nobody from the crew left. 500 years supply of food just for me”.
Craig Smith: Yeah.
Brad Page: I mean, cinematic lyrics, right?
Craig Smith: Just the whole thing– and essentially the end of the story. That’s all we get.
Brad Page: Yeah, that’s all we get. And we don’t know what happens to him. We don’t know anything. Just, still to this day– 500 years of food, right” Still to this day, he could be an 80-year-old man still at the bottom of the sea in this submarine.
Craig Smith: I mean, Al Stewart could choose to write a sequel. He has chosen so far not to, and to leave the listeners hanging.
Brad Page: Yeah. Really intriguing lyrics. And then we’ve got, you know, there’s just a huge ending. More of that kind of tinkling piano. And then we ride out on, now very blatant, sonar pings.
Craig Smith: And also that last chord is fantastic.
Brad Page: Yeah.
Craig Smith: I would love to know what that is. Something tells me that if I was to look it up online, I would not get an accurate answer. But there’s something funky going on with that last chord. The site I’m looking at has it as a D Major 7 Sus 2. So I will need to try that later to see if that’s actually the case. But, uh, yeah, it’s just, it’s just one of those chords you haven’t heard in the song, so it’s just ending on this note of, uh, uncertainty is really the only way I could probably put it.
Brad Page: It’s not fully resolved. Right.
Craig Smith: Yeah.
Brad Page: Uh, just as the story is not resolved; just as those sonar pings just kind of fade, Like they could still be going today, right? It’s just cinematic.
You know, there’s a lot of ways to write a song: there’s the personal revelations, there’s opening your soul, there’s all, you know, those kind of things. There’s twists, and ways to turn cliches, and all of that. But one way to write a song is to kind of tell a story. And to me, this is one of my favorite story type of songs. You know, it’s not a personal thing, he’s telling a story, but you’re only getting this, like, one chapter in the middle of a book.
Craig Smith: Absolutely not what you expect from Al Stewart.
Brad Page: No, not at all. And I think that’s kind of one, that’s one of the things that drew me in from the beginning, is because it’s not what I expected. When I put this record on for the first time, I didn’t expect to hear a track like this. And again, as we said, it’s one of the first songs you hear and really grabs you. Just a great track.
So tell me how you got into Al Stewart.
Craig Smith: It’s a very strange story. So, always loved the “Year of the Cat”, but never sought it out, never owned it… I take that back, I did own it on a K-Tel album, I believe the album was called “Stars”, and it also had either “Beth” or “Rock And Roll All Night” on it.
Brad Page: Did it have, like, 30 songs on one vinyl record? Was it one of those?
Craig Smith: It’s a K-Tel album– Of course it did. So, it was one of those songs, like “Torn Between Two Lovers”, like all those are on this album and represent a very specific period of time of me being a toddler. So I grew up with this album in the house, so I knew “Year of the Cat” from that.
There was a friend of mine, Otto, who I used to, in my thirties, would often… here was a karaoke place. We were the two guys that might have been a little too old to be hanging out at the bar, but we would go there and we would do karaoke. And I remember one of the times coming out, it was like a block or two from my house, so we would walk there, but for some reason he had had his car and he drove there, and he’s like, “I got to hear “Year of the Cat” before I go home. And we’re sitting in the parking lot, and he’s just sitting in the car, and he’s playing “Year of the Cat” on his car stereo, and he is blissing out in his car, just like it’s the best thing he’s ever heard. And me, having always kind of enjoyed the song, I was like, “Okay, this might be the time where I dig further in”.
When I sought out “Year of the Cat after that, probably the next day or whatever, I specifically remember sitting at my desk at work listening to it on a loop for 8 hours while I worked. I did not shut the song off. Shortly after, I bought the album, and then Otto turned me on to “Time Passages”. And then after that, I just kind of, I moved in different directions; one of the first things I grabbed was the “Uncorked” live album. So this had to be around 2009. I saw him shortly thereafter, uh, three times, with Dave Nachmanoff, who’s a guitarist. They were acoustic shows. Al pretty much played rhythm and Dave riffed on top of him like a madman. The “Uuncorked” album is also a nice way to get into other eras of Al Stewart. It’s not kind of hits-focused, it doesn’t have “Year of the Cat”, doesn’t have “Time Passages”. It’s all deeper cuts. “Life In Dark Water” is on there. Fantastic version.
But, yeah, after those three shows, I was like, “I’m in”. One of the most disappointing moments of my life was buying the 8-track to “Year of the Cat” to have him sign it, because I was like, “this is a conversation piece right here”. He’s going to be like, “Oh, I haven’t seen one of these”. No, he didn’t say a word about it. He threw a signature on there and handed it back. So I was like, well, okay… Yeah, a super nice guy and just like a storyteller, which is something that we kind of talked about it in terms of song, but he is also a storyteller. His song intros are maybe second to none. But if you have a chance to check him out, I absolutely would.
And then I just started listening to the whole catalog, and realized I loved every bit of it. There are hidden gems all over the catalog, but right in the middle, you have “Year of the Cat” and “Time Passages”. If you’re going to pick two, those are probably the two to pick. And then if you were going to go further, I’d go backwards a little bit. “Modern times”, “Past, Present and Future”. Maybe forward a little bit– Oh, absolutely “24 Parrots”. The live album “Indian Summer”. Fantastic, also great– except for that stupid thing they do where they fade every song out on the original vinyl. The CD is not like that. These are the kind of things I can contribute, Brad, from having owned literally every incarnation of Al Stewart CD’s that have been released.
Brad Page: That’s good to know; So on the vinyl, they fade out the live tracks, but on the CD, they do not, correct?
Craig Smith: Yeah, I bought a couple of vinyl copies, thinking maybe it was like the first run, but every vinyl copy I got fades them out. So, super weird. But remember, there’s a 38-disc box set called the “Admiralty Lights” at the end of this, if that’s a road you want to go down. And that is a road that I did go down. So, um, yeah, tons of Al Stewart out there, and I couldn’t be happier.
Brad Page: Thank you so much for the recommendations. Thanks for coming on and talking about this song and for the, edumacation on Al Stewart. I really appreciate it.
Craig Smith: Thank you for having me on. Always a pleasure.
Brad Page: It’s always a pleasure to have you on. Thank you, Craig.
And thank you for joining Craig and I on this journey deep into dark water. If you’d like to revisit any of my previous episodes, you’ll find them all on our website at lovethatsongpodcast.com, or just look for them in your favorite podcast app. If you’d like to support the show, all I ask is that you share it with your friends. Tell people about the show, because we count on your word-of-mouth to grow our audience and to celebrate and preserve this music.
I’ll be back in approximately 15 days with another new episode, so let’s get together then. Thank you for coming aboard for this edition on Al Stewart and “Life In Dark Water”.
REFERENCES:
Al Stewart https://www.alstewart.com/
Time Passages album https://www.discogs.com/master/
Pods and Sods Network https://podsodcast.com/
Roy Harper https://www.royharper.co.uk/
Bedsetter Images album https://www.discogs.com/master/
Al-Stewart-Bedsitter-Images 8— Love Chronicles album https://www.discogs.com/master/
Al-Stewart-Love-Chronicles 9— Modern Times album https://www.discogs.com/master/
Al-Stewart-Modern-Times 10— Year of the Cat https://www.discogs.com/master/
Al-Stewart-Year-Of-The-Cat 11— Alan Parsons https://alanparsons.com/
Marie Celeste https://en.wikipedia.org/wiki/Mary_Celeste
Tim Renwick https://www.allmusic.com/artist/tim-renwick-mn0000594665
Admiralty Lights box set https://www.discogs.com/release/
"I Wanna Be Sedated" (Jeffrey Hyman, John Cummings & Douglas Colvin) Copyright 1978 Bleu Disque Music Co., Inc and Taco Tunes
Few bands left a legacy as deep and as lasting as The Ramones. You literally couldn’t count the number of bands who were influenced by these 4 New York ne’er-do-wells. They created a sound and a look that virtually created a whole genre of music. Let’s have a listen to one of their classic tracks, “I Wanna Be Sedated”.
“I Wanna Be Sedated” (Jeffrey Hyman, John Cummings & Douglas Colvin) Copyright 1978 Bleu Disque Music Co., Inc and Taco Tunes
TRANSCRIPT:
This ain’t no Mud Club or CBGB’s– this is the “I’m In Love With That Song” podcast. My name is Brad Page, and each episode of this show, I pick a favorite song and we poke it and prod it, unearthing all the elements that go into making it a great song. Musical knowledge or experience is not required here, the only prerequisite is a little curiosity and a lot of love for music.
On this edition, we’re digging into a song by the progenitors of punk, the forefathers from Forest Hills– The Ramones and “I Want To Be Sedated”.
The Ramones came together around 1974, when guitarist John Cummings and bassist Doug Covid recruited Jeffrey Hyman to play drums in their new band.
Doug was the first one to change his name. Inspired by a fake name that Paul McCartney used to use, he changed his name to Dee Dee Ramone. He convinced the others to change their names, too. So, John became Johnny Ramone and Jeffrey became Joey Ramone. It didn’t take long for Dee Dee to realize that he wasn’t any good at playing bass and singing at the same time, so Joey took over lead vocals, and then he realized that he couldn’t sing and play the drums. So their would-be manager, Tommy Erdelyi, changed his name to Tommy Ramone and became their drummer.
They played their first gig in March 1974. Their songs were fast, short and loud. Dressed in black leather jackets, these guys were not Greenwich Village hippies. This was something new. They became regulars at CBGB’s, and in 1975, they signed a contract with Sire Records. They released their first self-titled album in 1976, a total of 14 original songs. The longest song clocking in at a breakneck 2 minutes and 35 seconds. That album is a classic.
They recorded two more albums, but by 1978, Tommy was tired of the relentless touring and left the band. But he would continue to work with them as their producer. They recruited a new drummer, Mark Bell, who had played with Richard Hell, Wayne County, and a band called Dust, and rechristened him Marky Ramone.
They started work on their fourth album, “Road to Ruin”, co-produced by Tommy and Ed Stasium. The Ramones never strayed far from their trademark sounds. But “Road to Ruin” shows just a tiny hint of advancement. There’s some acoustic guitars, short guitar solos, and some of the songs even crack the three minute mark. I think it’s one of their better records, and it contains one of their most enduring songs. “I Want To Be Sedated”.
Their constant touring schedule brought them to London during Christmas 1977. The band was exhausted, and when everything in the city shut down for Christmas, they were stuck at their hotel with nothing to do, nowhere to go. Apparently, after one show, Joey had said to their manager, “put me in a wheelchair and get me on a plane before I go insane”. All of this would work its way into the lyrics to this song.
The song is credited to Joey, Dee Dee, and Johnny Ramone. It’s the track that opens side two of the album.
Like so many great Ramones songs, the track kicks off with a bang, with all instruments coming in together.
From what I can tell, there are probably four guitar parts here. There’s a guitar panned all the way to the left and another to the right. It’s possible that that’s just one guitar in stereo, but I think it’s two separate parts. Those guitars are just chugging away on the power chords, while there’s a third guitar in the middle playing in a higher register. Then there’s another guitar, also in the center channel, playing a twangy single note part, Dwayne Eddy-style. This is a good example of how multiple, pretty simple guitar parts can be layered together to create one big guitar sound.
Let’s take a listen to Joey’s vocal. There’s some classic 1950’s Sun Studio style echo on his voice.
And let’s check out the bass and the drums.
And that guitar break is even simpler than it sounds.
And here’s a key change.
And the hand claps return for this final section.
And that one note guitar part comes back here, too.
The Ramones – “I Want To Be Sedated”
The Ramones recorded over a dozen albums of original material. None of the records were that commercially successful. The band struggled their entire career. It’s so ironic that now that the band has long since broken up and all the original members are gone, now they’re probably more well-known than ever. They still probably sell more t-shirts than records. I bet half the people wearing Ramone’s t-shirts barely know anything about the band. But there’s no question how important they are in the history of rock and roll and how influential they were. Spanning decades, they inspired the British punks in the ‘70’s well as bands like Nirvana in the 90’s. It’s just a shame the guys didn’t live long enough to enjoy this success.
Joey Ramone died from lymphoma in 2001. Dee Dee died from a heroin overdose in 2002. It was prostate cancer that took Johnny Ramone in 2004, and Tommy died from cancer in 2014. But Marky Ramone, who plays drums on this song, is still with us today.
And that will do it for this episode of the “I’m In Love With That Song” podcast. New episodes are released on the 1st and the 15th of every month, so I’ll be back with you in about two weeks with a new show. You can find all of our previous episodes on Spotify, Apple Podcasts, Stitcher, Amazon, Google, pretty much anywhere where podcasts are available. And of course, they’re all on our website too: Lovethatsongpodcast.com.
Keep in touch with us on Facebook, just search for the “I’m In Love With That Song” podcast, or on Podchaser, where you can leave reviews and comments and feedback.
This show is part of the Pantheon family of podcasts, where you’ll find plenty of other great music related shows to check out.
Thanks for listening to this episode of the “I’m In Love With That Song” podcast. Remember to support the artists you love by buying their music. Take a few bucks out of your pocket and buy that album, that CD, or those m p three files. Now everybody sing along, as the Ramones play us out with “I Want To Be Sedated”.
REFERENCES:
The Ramones https://www.ramones.com/
CBGB http://www.cbgb.com/
Sire Records https://www.sirerecords.com/
Wayne County https://www.allmusic.com/artist/wayne-county-the-electric-chairs-mn0000247765
Dust (Band) https://www.discogs.com/artist/
Pantheon Podcasts https://pantheonpodcasts.com/
I’m in Love with That Song Podcast on Facebook https://www.facebook.com/lovethatsongpodcast
I’m in Love with That Song Podcast on Podchaser https://www.podchaser.com/podcasts/im-in-love-with-that-song-688085
Wishbone Ash - "Blowin' Free" (Martin Turner, Andy Powell, Ted Turner, Steve Upton) Copyright 1972 Colgems Music Corp./Blackclaw Music Inc - ASCAP
A teenage summertime love affair with a foreign exchange student was the inspiration for this song by Wishbone Ash. Though overlooked in the US, Wishbone Ash reached #3 on the UK charts with the album Argus, which features “Blowin’ Free”. Wishbone Ash’s twin lead guitar sound would inspire many band that followed.
Wishbone Ash – “Blowin’ Free” (Martin Turner, Andy Powell, Ted Turner, Steve Upton) Copyright 1972 Colgems Music Corp./Blackclaw Music Inc – ASCAP
— This show is just one of many great Rock Podcasts on the Pantheon Podcasts network. Gotta catch ’em all!
TRANSCRIPT:
Hey, it’s Brad Page. I’m back in the studio, powering up the mics and cranking up the headphones because it’s time for another episode of the “I’m In Love With That Song” podcast, here on the Pantheon Podcast Network. Each episode of the show, we take a song and look at it from every angle, trying to get a handle on what makes a song work. No musical knowledge is required here– you don’t have to be technical, all you got to do is listen.
This time around we are listening to a track from a band that was big in Europe and the UK, but just never really caught on here in America. This is Wishbone Ash with “Blowing Free”.
Wishbone Ash came together in 1969 with Andy Powell and Ted Turner on guitars, Martin Turner on bass and Steve Upton on drums. Though Ted and Martin share a last name, they’re not actually related.
The thing that distinguished Wishbone Ash right out of the gate were those twin guitars of Andy and Ted. Though there had been other bands with two lead guitar players– the Allman Brothers come to mind– Wishbone Ash was one of the first to make harmony guitar parts such an essential element. That was the Wishbone Ash sound.
They released their first album in December 1970. Less than a year later, they released their second record, and in May 1972 they released their third album called “Argus”. It’s the album that most people consider to be their best.
“Argus” was well received, both critically and commercially. It was their biggest selling album, reaching number three on the UK charts. The “Argus” album flirts with progressive rock and hard rock, but it was the upbeat track “Blowing Free”, the closest thing to a pop song on the album, that got them on the radio and exposed to a wider audience, at least in the UK.
The song almost didn’t make it onto the album. The band thought it was too poppy compared to the rest of the record, but Martin Turner insisted that they keep it on the album.
The song is credited to Martin Turner, Ted Turner, Andy Powell and Steve Upton. Martin Turner wrote the lyrics and he plays the bass. Ted Turner and Andy Powell are on guitars and Steve Upton is on the drums. The album was produced by Derek Lawrence and engineered by Martin Birch, both known for their work with Deep Purple.
The song kicks off with a great guitar intro by Ted, and it didn’t have the same impact here in the states, but in the UK, learning that guitar intro was like a rite of passage for British guitar players, like “Stairway To Heaven” or “Sweet Child of Mine”, it’s just one of those intros that seems like every beginning guitar player had to learm. That introduction was actually inspired by an old song by the Steve Miller band called, “Children of the Future”.
They took that and turned it into something of their own.
Before the band fully kicks in, they’re going to change up the guitar riff.
Let’s listen to those guitars again.
You can hear how they’ve panned the guitars to the left and the right to add some differentiation and some dimension to the sound. Martin Turner’s bass part is also great here, too. Let’s listen to some of that.
When Martin Turner was a teenager growing up in a seaside town in southwest England, he had a summertime romance one year with a Swedish exchange student. Her hair was golden brown like a cornfield. When he was looking for lyrics for this song, he reminisced about that relationship and that story of teenage love and loss; that became the song.
Following that verse is a guitar solo played by Andy Powell, most likely played on his Gibson Flying V guitar. He was mostly known for playing Flying V’s. This is a great guitar solo.
Next up is the second verse. Martin’s Swedish girlfriend didn’t speak much English and he didn’t speak any Swedish, but I guess they found some way to communicate. Apparently when he asked her if he could kiss her, she said, “you can try”. That phrase appears a couple of times in this song.
Now the song shifts gears into a quieter, more melancholy section. Every good memory has a tinge of sadness for those lost moments you’ll never relive again.
I really like what Martin Turner’s bass and Steve Upton’s drums are doing behind this section. It’s simple but really effective. This leads us into another guitar solo. This one played beautifully by Ted Turner. Just incredibly tasteful. I think that’s just great. To me, he captures that wistful feeling of recalling old memories.
But that melancholy doesn’t last long. They kick right back into the verse riff, and Andy Powell takes over with another solo.
Let’s listen to some of that guitar.
And they return to the first verse.
More guitar work by Andy Powell. Now some of their trademark guitar harmonies start to appear in the background.
And here we have a slide guitar solo played by Ted Turner. Ted had started to listen to Ry Cooder, one of the great slide players of all time, and it inspired him to play a little slide guitar here. This is the first time Ted had ever tried playing slide.
Guitars start to build up from the background.
“Blowing Free” by Wishbone Ash
In the UK publication “Sounds” magazine, which was a big deal at the time, the readers voted “Argus” the best album of 1972, beating out albums like David Bowie’s “Ziggy Stardust”, Deep Purple’s “Machine Head” and the Rolling Stones “Exile on Main Street”. That’s some serious competition– that just shows you how big Wishbone Ash was in the UK.
But here in the US, “Argus” didn’t get any higher than 169 on the charts. America just wasn’t that interested in Wishbone Ash, but guitar players– guitar players were paying attention. Bands like Thin Lizzy and Iron Maiden would adapt that twin guitar harmony style, and, though largely forgotten by the average listener, Wishbone Ash left their mark on generations of guitar players.
A couple of years ago I was reading an issue of “Classic Rock” magazine and they had an article on this song, which inspired me to dig out that album and eventually inspired this episode. It had probably been 20 years since I last listened to this record, and you know, it’s always great to go back to an old album you haven’t heard in ages and hear it again with fresh ears. And it reminded me of my past loves, and loves lost.
Thanks for listening to this show. I really appreciate it. New episodes of the “I’m In Love With That Song” podcast come out on the 1st and the 15th of every month, so I’ll be back soon with another new edition. You’ve been warned.
You can keep in touch with the show on our Facebook page or on our website, lovethatsongpodcast.com, where you’ll also find all of our previous episodes. And, of course, we’re available on Amazon, Apple, Google, Stitcher, iHeartRadio, pretty much anywhere you can find podcasts, you’ll find this show.
And we are part of the Pantheon network of podcasts, home to many more music related shows, so check those out too.
Thanks again for listening to this edition of the “I’m In Love With That Song” podcast on Wishbone Ash and “Blowing Free”.
ADDITIONAL RESOURCES:
Wishbone Ash https://www.wishboneash.com/
Argus Album https://www.discogs.com/Wishbone-Ash-Argus/master/12065
"Midnight Train To Georgia" (Jim Weatherly) Copyright 1971, 1973 Universal-PolyGram International Publishing, Inc
Introducing a new segment of the podcast – “Creation & Evolution“, where we explore songs that travelled a long & winding road before they reached their final version. In this episode, we trace the history of a song that started from a phone call with Farrah Fawcett and ended up as Gladys Knight’s biggest hit.
“Midnight Train To Georgia” (Jim Weatherly) Copyright 1971, 1973 Universal-PolyGram International Publishing, Inc
TRANSCRIPT:
There’s the telltale theme music… it means it must be time for another episode of the “I’m In Love With That Song” podcast on the Pantheon Podcast Network. My name is Brad Page, and I’m your musical tour guide, your geologist of another sort, as we explore the rock that made history.
This time, I’m introducing a new segment I’m calling “Creation and Evolution”, where we’ll take a look at both the birth and the journey a song takes before it ends up in its final form. Some songs have a rather short path from the writer’s pen to the final release, but some songs take the long way around, and that’s what we’re going to explore here on “Creation and Evolution”.
For example, what do airplanes, Houston Texas, and Farrah Fawcett have to do with “Midnight Train to Georgia” by Gladys Knight and the Pips? Let’s find out.
Jim Weatherly was a songwriter from Mississippi who had written a few songs for Dean Martin and Peggy Lee. No hits, though he hadn’t really made his mark yet. One day in 1970, Weatherly called his friend, a struggling actor named Lee Majors, who would find fame as TV’s “Six Million Dollar Man”.
Majors wasn’t around, but his girlfriend, a struggling actress named Farah Fawcett, picked up the phone. She, of course, would eventually star in “Charlie’s Angels”.
Farah and Weatherly got to talking, and she told him she was just about to head out of LA to visit her family, leaving on a midnight plane to Houston. That phrase, “midnight plane to Houston”, stuck in his head. And as soon as he got off the phone, he sat down and in about 40 minutes, he wrote a whole song.
He based the song loosely on Fawcett and Majors. It was about a girl who went to LA to make it big, but when it doesn’t work out, she goes back home and her boyfriend follows her back. Weatherly recorded the song and included it on his 1972 solo album called Weatherly.
It’s a pretty modern country song, but the publisher had some faith in it and sent it around, hoping to find other artists to cover it. They even offered it to Gladys Knight.
But at this point, she passed on it.
They pitched it to another artist, singer Sissy Houston, Whitney Houston’s mom. She liked the song, but not the title. She said, “my people are from Georgia, and they didn’t take planes to Houston or anywhere else”. They took trains. And this is just a guess, but I think she might have been concerned about some confusion since her name was Houston and the song was about the city of Houston. Either way, Weatherly agreed to change the lyrics to “Midnight Train to Georgia”.
And besides the title change, this version also changes the genders. Now it’s the man who has failed and is going back home, and it’s the woman who follows him.
Sissy Houston released her version in February 1973.
Meanwhile, in 1973, Gladys Knight and the Pips had left Motown Records and signed a deal with Buddha Records, which gave her more freedom to pick her own material. By this time, Gladys had already had a hit with another Jim Weatherly song, “Neither One Of Us (Wants To Be The First To Say Goodbye” in 1972.
And when Gladys heard Sissy Houston’s version of “Midnight Train to Georgia”, she knew she could make it work. She envisioned it as an Al green style soul number.
Producer Tony Camillo had worked with everyone from Diane Warwick to Grand Funk Railroad. It was his job to record the instrumental tracks for “Midnight Train” for Gladys. But she wasn’t happy with what he came up with. Too polished, too orchestrated. She wanted something more stripped down. So he cut another version– and she rejected that one, too.
So working with engineer Ed Stasium, who would later become a legendary producer in his own right, working with The Ramones, Talking Heads, Motorhead and Living Color, just to name a few, they put together a small band: Jeff Mirinoff on guitar, Bob Babbitt on bass, Andrew Smith on drums, and Tony Camillo himself on piano. They banged out a simple backing track in an hour and sent it to Gladys, and that was exactly what she was looking for. They overdubbed horns and some strings, but for the most part, they kept it straightforward.
Gladys recorded her vocal in almost one take. No warm up, no run through, no punch-ins. She was well rehearsed and she knew what she wanted. She stepped up to the mic and four minutes later it was almost done. Except for some ad libs at the end, which we’ll get to later.
I love how she’s singing pretty softly there– she’s holding back, but then she lets loose a bit for the next part.
And here’s the first chorus.
Now, notice how the backing vocals by William Guest, Edward Patton, and Bubba Knight, along with Gladys herself, aren’t just singing harmonies or repeating lines from the lead vocal, they’re actually adding commentary. They’re in dialogue with the lead vocal. That’s something that Gladys and The Pips brought to the song. None of the other versions do that.
Here’s the second verse, and let’s bring up the vocals again so we can hear more of that interaction between the lead and the backing vocals.
I love this part.
And check out the backing vocals here.
James Jamerson is the bass player most associated with the Motown sound, and he’s a legend. But Bob Babbitt also played on many Motown classics, too, and he’s a phenomenal player as well. Let’s listen to some of Bob Babbitt’s bass work here.
You gotta love those woo-woos.
Now, I mentioned before how Gladys recorded her vocal in one take, and that’s true, right up until this point in the song. They wanted to have Gladys do some ad-libbing during the final choruses, some of those inspired, energetic interjections that can really add some emotional weight to a song.
The problem was that Gladys didn’t feel like she was a natural at that kind of thing, at least not at this point in her career. She didn’t feel comfortable and kind of froze up at the mic.
Merald Knight, who everyone called “Bubba”, was not only one of the pips, he was also Gladys’ brother. He took a mic into the control room, and with the backing track playing, he fed Gladys some lines into her headphones, and she sang them back as the tape rolled.
Now picture Bubba Knight in that control room looking at Gladys through the glass, singing these lines to her like, “my world, his world, our world”. And she’s singing them back and putting her own spin on them.
Gladys Knight and the Pips – “Midnight Train To Georgia”.
Buddha Records issued “Midnight Train to Georgia” as a single in August 1973, and eventually it worked its way to number one. It won the Grammy for best R&B vocal performance, and it would become Gladys Knight and The Pips calling card for the rest of their career.
Of the original Pips, Edward Patton passed away in February 2005; William Guest died in December of 2015, but Merald Bubba Knight, Gladys’s brother, is still with us, and Gladys herself, as of this recording, is still alive and well. She released her last album in 2014.
Jim Weatherly passed away in February 2021. He was 77.
Thank you for joining me for this episode. We’ll be back in two weeks with another new episode. Until then, you can binge on all of our past episodes, they’re all on our website, lovethatsongpodcast.com.
You can find us on Facebook to share your thoughts and feelings, just look for the “I’m In Love With That Song” podcast, and you’ll find us. You can also send me email at lovethatsongpodcast@gmail.com.
This show is one of many great podcasts on the Pantheon Podcast Network, so be sure to seek out all those other great shows.
To listen to the song again, complete and uninterrupted, stream it, download it, or buy it and support the music you love. Thanks again for joining me for this “Creation And Evolution” episode on Gladys Knight and the Pips’ “Midnight Train to Georgia”.
"The Ark" (Gerry Rafferty) Copyright 1977 The Hudson Bay Music Co. BMI
Everybody knows “Baker Street”– even if you don’t know the artist’s name or the song title, you probably know that sax riff. But there’s more to Gerry Rafferty than “Baker Street” (or “Stuck In The Middle”, for that matter). Here’s an incredibly moving song that’s every bit as good as his biggest hits.
“The Ark” (Gerry Rafferty) Copyright 1977 The Hudson Bay Music Co. BMI
TRANSCRIPT:
Welcome, true believers, to the “I’m In Love With That Song” podcast. My name is Brad Page, your host here on the Pantheon Podcast Network, where each episode, I pick a favorite song of mine and we explore it together on our never ending quest to understand what makes a song great. We don’t get into music theory here, so you don’t have to know a lot of jargon or technical stuff, we’re just going to listen together and see what we discover. On this edition of the podcast, we’re going to contemplate a song by Gerry Rafferty. Chances are, if you know the name Gerry Rafferty, it’s from this song [Baker Street]
But on this episode, we’re going to explore a song you may not have heard before. This is a song by Gerry Rafferty called “The Ark”.
Gerry Rafferty was born in Scotland in April 1947. He was the youngest of three children, and by some accounts, his birth was unplanned and his father resented his very existence. His mother would take Gerry out of the house on Saturday nights and stay outside, late into the night, just to keep Gerry’s drunken father from beating them.
When Gerry was 16, he formed his first band with a friend, Joe Egan. Firs,t they were known as The Mavericks, and then they became The Fifth Column, and they released a single in 1966 called “Benjamin Day”.
That single failed to make any waves. So, Rafferty quit and joined a group called The Humble Bums, which also featured Billy Connolly, who eventually become a legendary comedian. Here’s one of Gerry’s songs with the Humble Bums. This one’s called “Shoe Shine Boy”.
Eventually, Rafferty decided to try being a solo artist, and released his first solo album in 1971. It has a great album title– he called it “Can I Have My Money Back?”
The solo career was slow to get off the ground, though, and by now, Gerry was married with a young daughter. So he teamed back up with his old friend Joe Egan and they formed Steelers Wheel. Their first album came out in 1972 and features this song– and I’m sure you all know this one, too.
“Stuck In The Middle” was a top ten hit in the US and the UK. Steeler’s Wheel would release three albums between 1972 and 75. But the band split up, and they were entangled in a bunch of legal problems, which meant that Rafferty could not release a new album for three years.
But finally, when he recorded his second solo album, he was more than ready. The album “City to City” was released in January 1978, and thanks to the chart success of “Baker Street”, it became his biggest selling album. “Baker Street” is mostly famous for that saxophone part, but I’ve always loved that guitar solo, played by Hugh Burns. The “City to City” album also features “Right Down The Line”, which was another big hit from this record.
But the song we’re going to talk about today is “The Ark”. It’s the song that opens the album, side one, track one. It was written by Gerry Rafferty and performed by Tommy Ire on piano, Gary Taylor on bass, Henry Spinetti on drums, Graham Prescott on mandolin and fiddle, Glenn Lafleur on tambourine, Barbara Dixon on backing vocals, the great Jerry Donahue on electric guitar, and Gerry Rafferty on lead vocals and acoustic guitar.
The album was produced by Gerry and Hugh Murphy. The album, and the song, open with some traditional instrumentation. This was performed by an Australian group called The Bushwhackers has a real Celtic feel to it. Probably reminiscent of the sounds that Gerry heard growing up in Scotland.
That’s essentially the melody for the verse. After that opening section, the song switches to more traditional rock instrumentation for the actual verse.
This is a fairly stark but beautiful song, I think, anyway. Let’s take a look at the elements that make up this verse. The piano is the most prominent instrument, but there’s also an acoustic guitar that’s strumming along underneath it.
That chord change there on the piano, that gets me every time. It’s simple, but there’s just something righteous about that. And what the bass and drums are doing couldn’t be any simpler. It doesn’t need to be any more complex than this. All of the instruments are leaving plenty of space.
So let’s go back, hear all of those parts together, and add the vocals in.
I like how the drums skip a beat there. It breaks out of the simple repetition and kind of perks up your attention at the end of the verse. So let’s go back and listen to all of that and how it brings us into the second verse and set.
I’ve read in a couple places that Gerry had perfect pitch. I don’t know if that’s true, but there is a certain effortlessness in his vocals that they just seem to flow out of him so naturally.
And check out that great little electric guitar fill by Jerry Donahue.
Let’s back that up and start again and listen for more of those guitar fills by Jerry Donahue.
Let’s talk about the lyrics. Apparently, Rafferty had the idea for this song as far back as 1970- 71, but it was one of the last songs that he finished for this album in ‘78, almost eight years later. He really had to work at this one. I guess he was reading some books about philosophy or spirituality and about the ark– Noah’s Ark, and what it represented metaphorically or symbolically rather than literally. I think the song is about if we can wake up, if we can become aware, then we can start out on a journey to enlightenment. That’s where it begins. We’re all on this journey together. Here’s the chorus.
This is a great verse. Let’s focus in on his vocals here.
And that’s a nice little drum fill there, too. Everything about this track in this whole album is immaculately recorded. It’s just a great sounding record.
Let’s listen to the vocals. On the chorus, Gerry is harmonizing with Barbara Dixon, but he has also overdubbed his voice in layers. He was really masterful at that.
And that takes us into an instrumental section where the electric guitar plays off of the Celtic instruments from the beginning of the song. It’s an interesting choice. And Jerry Donahue gets off some great guitar licks here. This is a really well-structured solo.
Rafferty repeats the first verse here, but this time he’s double tracked his vocal.
More great guitar fills here.
And listen to the tambourine.
The Bushwhackers and their traditional instruments join in one last time here at the end.
Gerry Rafferty – “The Ark”
Gerry Rafferty was a very gifted man, but he hated being a celebrity. If you grew up in the did, you’ll remember when “Baker Street” was on the radio constantly, you couldn’t get away from that song. It made Gerry Rafferty a rich man… but it didn’t make him a happy man.
He was a great musician and songwriter and a singer with perfect pitch, but I think he was also very insecure. He didn’t seem to be that into playing live, and I don’t think he ever toured America. He didn’t like being a rock star and he lived a pretty private life. And he was an alcoholic.
By 1990, his wife of 20 years finally left. He struggled with depression and volatile behavior. In November 2010, he was admitted to the hospital and put on life support due to multiple organ failure. He was eventually taken off life support and sent home with his daughter, where he died of liver failure on January 4, 2011. He was 63.
A trace of loneliness and alienation runs through many of his songs, and you can hear it in his voice. You can hear it in this song. But this is also a song about hope; that we can wake up from this sleep and set out on our journey. I hope that Gerry Rafferty finally found the ship to take him on his way.
Thanks for listening to this edition of the “I’m In Love With That Song” podcast. New episodes are released on the 1st and the 15th of every month, so we’ll be back soon with another new show. Until then, you can catch up on all of our previous shows on our website, lovethatsongpodcast.com, or find us on your favorite podcast app– Spotify, Google, Apple, Stitcher, Amazon; you name it, his show is there.
We are part of the Pantheon Network of podcasts, home to many other great music-related shows, so be sure to check them out. And if you’d like to support this show, well, the best thing you can do is to just tell a friend about it, because your recommendations are the most valuable thing.
So thank you for taking the time to listen to this episode on “The Ark” by Gerry Rafferty.
Jeff Beck was the guitar player’s guitar player. Ask the great guitar players who they thought was the best, and chances are they’ll name Jeff Beck. His playing was in a state of perpetual reinvention, always evolving & improving. No mere technician, he was a master of emotion. When Jeff passed away in 2023, we lost a musical giant.
On this, our 150th episode, we pay tribute to Jeff by looking back at his 50+ year career, highlighting some of his finest moments.
Use the discount code “lovethatsong” to save 15% on your favorite band merch at Old Glory!
TRANSCRIPT:
Welcome, friends. I’m Brad Page, host of the “I’m In Love With That Song” podcast. And this just happens to be the 150th episode of the podcast. So, I wanted to do something different, something special with this episode. And one of the things that I’ve been wanting to do for a while is to pay tribute to Jeff Beck, the brilliant guitarist who died last year. Now, I could have rushed out an episode, but I wanted to do this right. Jeff Beck was a legend, an icon, an inspiration to millions of guitar players. And I believe he was the greatest rock guitarist of all time. So I wasn’t just going to throw something together.
Now, usually on this show, we dive into a specific song; we’ve also done shows where we take a look at a particular year, or focus on a certain event or an individual album, but we’ve never done a retrospective on one artist’s career– until now. So, for this, our 150th show, we’re going to explore the extraordinary career of Jeff Beck.
Why? Because you simply can’t capture what made Jeff Beck great in one song, or one album, or even in one decade of his career. Because there is no guitarist in rock history– I repeat, no guitarist– whose style and technique evolved so much over time, that by the end, he was playing like nobody else on the planet. That was no coincidence. It was the result of a restless spirit who could never stay in one musical place for too long. Someone who never stopped learning, who never stopped working on his playing, who just kept getting better. So let’s explore the sound, the passion, and the fury of Jeff Beck.
Jeffrey Arnold Beck was born June 24, 1944, near London. When he was six years old, he heard a song on the radio. “How High The Moon” by Les Paul and Mary Ford.
When he asked his mother what that sound was, she said, “it’s an electric guitar”, as if Les Paul was somehow cheating by using technology. But that made Jeff even more fascinated.
But it wasn’t until Jeff was about 12 years old before he actually played a guitar for the first time. A friend had an acoustic guitar that he wasn’t using, so Jeff borrowed it. That guitar was missing some strings, but Jeff fashioned some, using some wire from an old electric toy airplane. He saw the film “The Girl Can’t Help It”, which featured Gene Vincent and the Blue Caps playing “Be Bop A Lula”. And he was captivated by the playing of Cliff Gallup, the guitarist for the Blue Caps. Gallup would be a big influence on Jeff.
Jeff built his first electric guitar himself out of wood and parts that he scrounged together. He used to carry it around without a case, even strapping it to his back when he rode his bike, so that people would see it. He wanted to be known as a guitar player.
It was around this time that Jeff’s sister told him about this other kid in the neighborhood who also played guitar and decided to introduce them. That other kid happened to be Jimmy Page. Jimmy said “there was a knock on the door one day, and there was Jeff’s sister, with Jeff holding his homemade guitar”. They immediately became friends.
Jeff joined his first band, The Bandits, in 1960 when he was 16, and then joined the Deltones. He bought his first Fender Stratocaster around this time, it’s a big deal.
And in 1963, Ian Stewart, who was playing piano for the Rolling Stones, turned Jeff onto the blues. And Jeff was particularly struck by Buddy Guy, who became another major influence on Jeff.
He eventually joined the Tridents, and this is where he really started making a name for himself. By now, Jeff was playing a Fender Telecaster into a Vox AC30 Top Boost amp, with a Binson Echorec and a fuzz box he made himself. Here’s a recording of the Tridents playing “Nursery Rhyme”, recorded live in 1964.
The Yardbirds had formed in 1963, with Keith Relf on vocals and harmonica, Paul Samwell-Smith on bass, Jim McCarty on drums, and Chris Dreja and Top Topham on guitars. When Topham quit, they replaced him with a hot, young guitarist named Eric Clapton. They were originally a straightforward blues bass band, but when they recorded the more radio-friendly “For Your Love”, that was a bridge too far for Clapton, who immediately quit.
By then, Jimmy Page was an in-demand session player, working in London’s recording studios and playing on hit records. The Yardbirds asked Jimmy to join, but he wasn’t interested. But Jimmy recommended his friend Jeff Beck for the job, and Beck became a member of the Yardbirds.
He joined them just in time to work on their next single, “Heart Full Of Soul”. The story goes that they had hired a sitar player to play on the song, but when they couldn’t get it to sound right, Jeff said, “let me just try it with my guitar”. And using his Fender Esquire and a Sola Sound Tone Bender fuzz box, he put down on tape the first iconic Jeff Beck guitar part.
Many other classic Yardbirds hits followed, including one of the all-time great psychedelic tracks, “Shapes Of Things”, featuring two layered guitar solos incorporating feedback. Groundbreaking stuff.
Another classic was “Over Under Sideways Down”, featuring an eastern-influenced melody from Jeff. Jeff also played bass on this song.
And one of my favorite Yardbird tracks is this one, an instrumental simply called “Beck’s Boogie” that says showcase for everything Jeff had to offer at this time: his tone, his creative playing and his speed.
But Jeff was always temperamental– accent on the temper. If a gig wasn’t going well, or he just didn’t like his sound, he’d kick his amp over or walk off the stage.
In May of 1966, five of the greatest British musicians got together in a London recording studio to form a “supergroup” that lasted for one song. The Yardbirds manager knew Jeff was unhappy and encouraged him to record some solo tracks, thinking that that would ease the frustration. At the same time, drummer Keith Moon from The Who was feeling antsy and looking for a new opportunity. Jeff went over to Jimmy Page’s house; Jimmy was playing his Fender twelve string electric, and they worked up a song that would become “Beck’s Bolero”. A couple of days later, on May 16, Jeff Beck and Jimmy Page showed up at the studio; Keith Moon arrived in secret, wearing a disguise; Nikki Hopkins joined them on keyboards, and Jimmy brought in one of his session friends, John Paul Jones, to play bass. Jimmy played his electric twelve string, and Jeff played a Gibson Les Paul.
At one point during the track, Keith Moon screams and he hit the mic with his drumstick, just smashing the mic. From that point forward, all you can really hear of the drums is the cymbals.
There was talk of them forming a band, but they didn’t have a singer. So Keith went back to The Who, Jeff went back to The Yardbirds, and the supergroup never happened.
In June 1966, Paul Samwell-Smith quit The Yardbirds. They had just finished recording the album that became known as “Roger The Engineer” (in my opinion, that’s The Yardbirds’ masterpiece) and they had gigs lined up. This time Jimmy Page came to the rescue, replacing Samwell-Smith on bass, and on June 21, made his debut with The Yardbirds as their new bass player.
It didn’t take long for Chris Dreja to realize Jimmy Page was just a much better guitar player than he was, so he switched to bass and Jimmy took over on guitar, creating one of the all-time great twin guitar lineups in history: Jeff Beck and Jimmy Page, both playing together.
It didn’t last though. Volatile and moody as ever, Jeff finally quit The Yardbirds in the middle of a US tour in late 1966. The Yardbirds continued on as a quartet, with Jimmy handling all the guitar work.
Unfortunately, there are only two tracks that feature the Beck/Page lineup: “Stroll On”, which was featured in the 1967 film “Blow Up “,and “Happenings Ten Years Time Ago”, a psychedelic masterpiece, with Jeff Beck conjuring up everything from police sirens to revving engines and bombs dropping. This track also features John Paul Jones on bass.
So by 1967, Jeff Beck found himself at a crossroads, a situation he would find himself in throughout his career. He’d left The Yardbirds, but what to do next? Mickey Most was one of Britain’s most successful producers, and he figured he could turn Jeff Beck into a pop star. Mickey recorded three pop singles with Jeff. “Hi Ho Silver Lining”, “Tallyman” and “Love Is Blue”.
But Jeff Beck was just not meant to be a pop star. He had no appetite for that side of the business. He started putting together his own band, starting with a lead singer named Rod Stewart and a guitarist, Ron Wood, who switched to bass. Mickey Waller joined them on drums, and the first Jeff Beck Group was born. With the support of Peter Grant, who would become Led Zeppelin’s manager, the Jeff Beck gGroup signed to Epic Records and released their first album, “Truth”, in July 1968.
Whereas the Yardbirds mix blues with pop and psychedelia, the Jeff Beck Group’s debut album is a slab of heavy blues rock, beating Led Zeppelin to the punch by about five months.
Their second album, “Beckola”, followed in June 1969. This album featured Tony Newman on drums with Nicky Hopkins on piano. And if anything, it’s even heavier than its predecessor.
Both albums sold well, but the writing was on the wall and the band split up. They were supposed to play at Woodstock, but Jeff backed out. He didn’t think they were good enough. Rod Stewart, Ron Wood, and Mick Waller would go on to record Stewart’s first solo album, and then Stewart and Wood joined the Faces… but that’s a story for another podcast.
Meanwhile, Jeff formed a new Jeff Beck Group and released two more albums in ‘71 and ‘72. Though both records have their moments, neither is particularly strong and didn’t do particularly well, either critically or commercially. The albums are most notable for introducing two musicians, Max Middleton on keyboards and a drummer named Cozy Powell.
So Jeff broke up the band and tried his hand at another supergroup, teaming with bassist Tim Bogart and drummer Carmine Appice, who had played together in Vanilla Fudge and Cactus.
Around this time, Stevie Wonder got Jeff to play on the song “Looking For Another Pure Love”, which would appear on Stevie’s next album, “Talking Book”.
One day, while messing around in the studio together, Stevie came up with the riff to “Superstition”. He finished writing the song with the intention of giving it to Jeff, but when Motown heard the song, they insisted that Stevie record it, put it on the album, and release it as a single. But Beck, Bogart, and Appice did record a version of it, and it’s probably the highlight of the one studio album they released together.
Once again, egos and personality conflicts took over and the band split. So Jeff found himself at another crossroads. He wasn’t really getting anywhere in terms of critical or commercial success, and he felt he was spinning his wheels creatively. Something had to change.
So he went into the studio with Max Middleton, who played on the last couple of Jeff Beck Group albums, along with Phil Chen on bass, and drummer Richard Bailey, and a producer named George Martin– the same producer who worked with The Beatles, along with many others, including John McLaughlin’s Mahavishnu Orchestra, who Jeff was really into at that point.
Together, they produced an album that took Jeff into a totally new direction, a jazz/rock/funk fusion that was unique. Didn’t sound like anything else at that time. But it wasn’t just the style of the music that changed. Jeff actually changed the way he played, a different way of approaching the guitar, reinventing his style and technique.
The album was called “Blow By Blow”, and it turned out to be his most commercially successful album ever. An all-instrumental album, no vocals, that made it to number four on the Billboard chart and earned Jeff a whole new level of respect.
Let’s look at a couple of tracks from the “Blow By Blow” album. This is my personal favorite Jeff Beck album. I can’t say for sure, but from what we know, Jeff was probably using his 1954 Gibson Les Paul with an Ampeg VT40 amp, Crybaby Wah Wah pedal, Colorsound Overdrive and a ZB Custom volume pedal.
One of the standout cuts on the album is a song called “Thelonious”, written by Stevie Wonder, and though he’s not credited on the album, Stevie actually plays clavinet on this track.
Another fan favorite is “Freeway Jam”, which became a staple of Jeff’s live performances. Seems pretty clear to me he’s playing a Fender Stratocaster on this one.
One of the outstanding moments on the album is “Because We’ve Ended As Lovers”, also written by Stevie Wonder. Another one of Jeff’s favorite guitarists was Roy Buchanan. Jeff dedicated this song to Roy, and you can hear Roy’s influence on Jeff’s playing here. This is one of Jeff’s greatest performances, and the song remained part of his live gigs for years. On this track, I believe Jeff was playing a modified Fender Telecaster with Seymour Duncan humbucking pickups installed in it.
Jeff hit the road in 1975, touring with the Mahavishnu Orchestra, then he returned to the studio with George Martin to record his next album, “Wired”. This time the band featured Jan Hammer on synthesizer– he played a key role in the sound of this album, pushing the music further into the jazz fusion direction. Jeff toured with the Jan Hammer Group in 1976 and they recorded a live album together.
Here’s another track from the “Wired” album, this is Jeff’s version of the Charles Mingus classic “Goodbye Pork Pie Hat”.
Jeff recorded one more album in the jazz fusion arena called “There And Back” in 1980, and then he went quiet for a few years. His next album came out in 1985, called “Flash”. It’s kind of a hodgepodge, probably his most commercially oriented album. It’s also my least favorite Jeff back album.
You got the feeling that Jeff was at another crossroads, not sure where to go next, so he just retreated from the public eye again. But he didn’t stop playing. In fact, his playing went through the most radical reinvention yet. He stopped using a pick, developing his own unique finger style, and he developed a way of incorporating the Stratocaster’s vibrato arm, the whammy bar, into his playing that was entirely unique. Sui generis, unlike anything else. This was not the Van Halen dive bombs or the Hendrix freakouts; this was an extremely controlled use of the vibrato, using sustain feedback and a surgical like use of the whammy bar to create microtones– notes between the notes, sounds you shouldn’t be able to make on a guitar. It took years of painstaking work for him to develop this way of playing. I’m simply in awe of it.
This technique was in full display on his next album, “Jeff Beck’s Guitar Shop”. Released in 1989, this album features Tony Hymas on keyboards and legendary drummer Terry Bozzio. And it’s another left-turn for Jeff’s career, incorporating the sounds and technology of the ‘80’s into his music.
But the highlight of the record is a track called “Where Were You” that fully displays his new approach to playing. Using just the volume control on his Strat, along with the vibrato arm, he manipulates fretted notes and harmonics to produce a hauntingly beautiful vocal-like sound.
Jeff went on a co-headlining tour with Stevie Ray Vaughan and it was very successful. But when it was over, he stepped back again, this time due to his increasing issues with tinnitus, a severe ringing in the ears.
Jeff spent the next few years doing occasional session work and guest appearances, turning up on records by John Bon Jovi and Roger Waters. Then in 1992, he released two almost simultaneous projects, and they couldn’t be more different. One of them was the soundtrack to a TV series called “Frankie’s House”. The other was a tribute to his original guitar hero, Cliff Gallup– an album of Gene Vincent covers called “Crazy Legs”. Here, he sets aside all of his newly-developed technique and pays tribute to Gallup by emulating that classic sound and style.
Occasional session work followed, and one big tour in 1995 with Santana, but we didn’t get any new music until 1999, when he released “Who Else!”, The first of three albums inspired by electronica and bands like The Prodigy. It was also the first album where Jeff worked with another guitarist, Jennifer Batten. Jennifer was one of the most sought after hired gun guitarists in the late 80’s and 90’s. She toured with Michael Jackson for ten years. But Jeff was one of her heroes and she jumped at the chance to work with him.
Jennifer was a major contributor to the album and co-wrote the song “What Mama Said”.
That album was followed a year later by “You Had It Coming”, an album that again featured Jennifer Batten, with a guest appearance by Imogene Heap on a version of the old Muddy Waters classic, “Rollin’ And Tumblin’”
This album also features what I think is one of Jeff’s crowning achievements: a simply stunning track called “Nadia”. He had heard the track originally recorded by Nitin Sawhney and was fascinated by the female vocal melody.
This vocal style makes use of microtones that aren’t part of our western musical notation. These are notes that aren’t playable on a traditional guitar. But Jeff, using his meticulous vibrato bar technique, painstakingly learned that vocal melody, phrase by phrase. I can’t even begin to explain the complexity and difficulty of pulling off something like this, but Jeff did it, and would continue to do it as part of his live show.
Jeff released a third electronica-themed album, simply called “Jeff” in 2003, which included another of his vocal adaptations, this time drawing inspiration from the Bulgarian Female Vocal Choir on a track called “Bulgaria”.
That was a very fertile period for Jeff, releasing three albums within four years. He hadn’t been that prolific since the early 70’s. But after that last album, he stepped back again. He did release a live album in 2008 that’s one of my top favorite Jeff Beck records. It’s called “Live At Ronnie Scott’s” and Jeff is just brilliant on that album. It features an amazing version of the Beatles song “A Day In The Life”, which he won a Grammy for Best Rock Instrumental Performance.
In 2009, he was inducted into the Rock And Roll Hall of Fame for the second time, as a solo artist. (He was already inducted as a member of The Yardbirds.) In 2010, he returned with his 10th studio album called “Emotion And Commotion”. Half of those tracks featured guest vocalists like Joss Stone and Imelda May. The other half were instrumentals. Here’s one called “Hammerhead”.
Absolutely ferocious. Jeff was 65, 66 years old when this record came out, and he was still as fierce a player as ever. But of course, he could also be incredibly delicate. The same album includes a beautiful version of “Somewhere Over The Rainbow”, recorded in the studio with a live 64-piece orchestra.
Six years later, in 2016, he released what would be his final solo album, a record called “Loud Hailer”. And this is one of my favorite Jeff Beck studio albums. Jeff had heard these two women, vocalist Rosie Bones and guitarist Carmen Vandenberg– they have a band called Bones UK– and Jeff liked what he heard and asked them to collaborate on this album.
Now, let me point out one thing that’s worth noting here: going back to Jeff’s work with Jennifer Batten, through his tours featuring the great bass players Tal Wilkenfeld and Rhonda Smith, to this album where he shared the spotlight with Rosie and Carmen, Jeff was a real supporter of women musicians. Not just for novelty or “eye candy”, these were all women who could really play and deserved to be there. But he gave these women a chance in the spotlight and brought them in front of new audiences around the world. He deserves some credit for that.
Almost all of the tracks on “Loud Haler” are co-written by Jeff, Carmen and Rosie, and shows, once again, Jeff fitting his style into a modern context.
Jeff would release one more album, kind of a one-off duo with Johnny Depp in July 2022. And then on January 10, 2023, Jeff Beck died from a bacterial meningitis infection. He was 78 years old.
It was a shock in the guitar playing community. Virtually every guitarist you can think of paid tribute to Jeff.
There have been many great guitar players; I believe Jeff was the greatest. There are many reasons why– I won’t go through them all, but here’s just one reason: Jeff never stopped getting better. His playing grew and changed and improved.
Let’s look at most of the iconic players. Of course, Jimi Hendrix died young, so we don’t know what his playing would be like now. Same for Randy Rhodes and Stevie Ray Vaughan. But let’s look at Eric Clapton, who I really admire as a player, but some people think his playing peaked with cream in the 60’s, others think it peaked in the 70’s… But either way, if you listen to Eric Clapton today, has he evolved much since then?
Let’s look at Jimmy Page– Again, another player who I absolutely love, but has he done anything that surpassed his work in the 70s?
What about Eddie Van Halen? His guitar playing shook the world in 1978, but from then to his death in 2020, can you honestly say his playing radically improved or changed? I don’t hear it.
No disrespect meant to Eddie, or to Brian May or Tony Iommi… Steve Vai, Joe Satriani, Steve Morse, Joe Bonamasa, they may all be better technical players, in terms of speed or knowing more theory, but none of them– no one– revamped, revised, rebuilt their style and technique from the ground up as much, or as often, as Jeff Beck. None of them changed and evolved and improved over the course of their career as Jeff Beck. And he was still improving. He was never satisfied and he was always pushing himself to get better.
There is no contemporary or current guitarist who continually developed and improved over their career like Jeff Beck. Nobody who went from this:
To this:
To this.
To the point where he was playing radically different and better in his 70’s than he did in his 20’s. It’s amazing, nobody could touch that technique. He was one of a kind.
There are new generations of brilliant guitarists, from Bumblefoot to Buckethead. players like Omar Garcia-Lopez, Tosin Abbasi, Plini, Rabia Massad… they are all brilliant players at the top of their game, but we’ll see– when they’re in their 70’s, will their playing have evolved and deepened as much as Jeff Beck’s?
Thank you for joining me for this special episode looking at the career of Jeff Beck. Trust me when I say we’ve just scratched the surface of his work. Go pick up some of his albums. A great place to start is the “Live At Ronnie Scott’s” album. There’s also a great documentary called “Still On The Run”, which I highly recommend.
I’ll be back in two weeks with another new episode. Thanks for being a part of the last 150 shows, and if that’s not enough, you’ll find even more shows on the Pantheon Podcast Network, enough to satisfy any music junkie.
Please keep in touch and until the next time, I’ll leave you with one final track. This is from the aforementioned “Live At Ronie Scott’s” album. It’s the live version of Jeff playing “Where Were You”. This is how he closed that show, and it’s a fitting way to close out this episode. Jennifer Batten described this as “basically impossible, it’s an impossible tune”. Well, impossible for anyone– except Jeff Beck.
ADDITIONAL INFORMATION: Jeff Beck https://www.jeffbeck.com/
"Medicated Goo" (Steve Winwood, Jimmy Miller) Copyright 1969 Island Music Ltd, Universal/Island Music Ltd.,F-S-Music Ltd., Kobalt Music Copyrights SARL
You may not know her name, but I guarantee you’ve heard her voice. When acts as diverse as Graham Nash, Peter Gabriel and KLF are in need of a soulful vocal, PP Arnold has been a top choice. Her voice has graced dozens of songs & albums for over 50 years, though she’s never had a hit under her own name in the US. On this episode, we take a brief look at her career and examine a great lost track, featuring Eric Clapton and the Derek & The Dominos band, recorded in 1970 but didn’t see the light of day until 47 years later.
“Medicated Goo” (Steve Winwood, Jimmy Miller) Copyright 1969 Island Music Ltd, Universal/Island Music Ltd.,F-S-Music Ltd., Kobalt Music Copyrights SARL
Got time for more podcasts? Listen to dozens more on the Pantheon Podcast Network, the #1 source for music-related podcasts! (And don’t forget to follow this show, so you never miss an episode.)
TRANSCRIPT:
Well, hello there! Come on in, don’t be shy. It’s good to have you here. You’ve found your way to the “I’m In Love With That Song” podcast. My name is Brad Page, and each edition of this podcast, I come to you via the Pantheon Podcast Network with another one of my favorite songs to explore and examine, as we attempt to understand what goes into making a great song.
I’m going to start by playing eight short clips from eight different artists, spanning five decades of music. What is it that all of these songs have in common? Let’s start with:
Ike and Tina Turner’s “River Deep, Mountain High”
The classic 70’s band Humble Pie
Nick Drake
New Orleans legend Dr. John
Roger Waters from Pink Floyd
and then there’s Oasis
KLF
and Peter Gabriel
All of those songs featured the voice of a woman named P. P. Arnold. She was an American soul artist transplanted to London in the 1960’s, where she was able to carve out a career, though she never cracked the charts in the US.
On this episode, we’re talking about P. P. Arnold and her version of a song called “Medicated Goo”.
Patricia Anne Cole was born in Los Angeles in 1946. She started singing in public when she was just four years old. She came from a family of gospel singers. She got pregnant very young and got married, and may never have pursued a career in the music business; she already had her hands full working two jobs, but a friend convinced her to audition for the gig as one of the Ikettes, the backing singers for Ike and Tina Turner. When she returned home late after that audition, her abusive husband hit her. That was enough for Patricia. She grabbed her two kids, handed them over to her mother and hit the road with Ike & Tina Turner.
In 1965, the Rolling Stones booked Ike & Tina Turner as their opening act for their UK tour. And that’s what brought Patricia to England. She quit the Ikettes in 1966 and stayed in London. Mick Jagger took a liking to Pat. In fact, they supposedly had a fling. But it was the Rolling Stones piano player Ian Stewart who recommended Pat to producer Glenn Johns, who then introduced her to Andrew Oldham, who signed her to his record label, Immediate Records.
It was around this time when her stage name had been changed to “PP Arnold”, a name she didn’t really like. I mean, who wants to be called PP? But it stuck. And she still goes by PP Arnold today.
She wasn’t the first black artist to discover more opportunity and better treatment overseas than in her home country. Actually, the fact that she was a real Black American singer in the gospel tradition, in a country filled with a lot of pretenders and wannabes, may have helped her career. She was a rarity. The real thing.
She released a couple of singles on the Immediate label that didn’t really get off the ground. But in 1967 she had her first hit in England with a song written by Cat Stevens: “The First Cut Is The Deepest”.
She toured opening for the Small Faces. She had an ongoing affair with Steve Marriott for a while, and he wrote the song “Tin Soldier” originally for her, but then decided to keep it for the Small Faces, though she did contribute significant backing vocals to that song. We covered “Tin Soldier” in detail back on Episode 54– if you haven’t heard that episode, go back and check it out.
She recorded a duet with Rod Stewart called “Come Home Baby” that was produced by Mick Jagger, with a band that included Keith Richards, Keith Emerson, Ron Wood and Nicky Hopkins. How’s that for a lineup?
She released her second album, “Kafunta”, in 1968, which featured string arrangements by John Paul Jones. That album was a mix of originals and cover songs, including her version of “Angel of the Morning”. It was Merrilee Rush who had the big hit with that song in the US, but in England, it was PP Arnold’s version that was the hit.
By the end of the 1960’s, Immediate Records imploded. She tried working on a new album with Barry Gibb of the Bee Gees producing, but the project fell apart and only a couple of songs were released. The rest went into the vault.
When Eric Clapton went on tour with Delaney and Bonnie, PP Arnold was tapped to open the show. She put together a killer band for that tour that included Steve Howe on guitar and Tony Ashton on keyboards. After the tour, she went back into the studio with Eric Clapton producing and Delaney and Bonnie’s backing band, who Clapton was about to turn into Derek and the Dominos. She cut three tracks with Eric Clapton, but they too weren’t released and those went into the vault too.
Her time in the spotlight seemed to have passed. She did some musical theater and started picking up work as a session vocalist and a backing singer on tours. She moved back to Los Angeles in the mid ‘70’s, and after her daughter was killed in a car accident, she withdrew from public life for a while. And who could blame her?
Eventually she moved back to England. Throughout the ‘80’s & ‘90’s, she continued working as a session vocalist, cutting many tracks, including the ones we heard at the top of the show. In 2001, all of her recordings for Immediate Records were compiled and released on one CD called “The First Cut: The Immediate Anthology”. That’s a great place to start if you’d like to hear all of her early work.
And finally in 2017, after decades of legal wrangling, her recordings with Barry Gibb and those tracks cut with Eric Clapton were finally released– almost 50 years after they were recorded. That album was called “The Turning Tide”, and the song that opens the album is “Medicated Goo”.
“Medicated Goo” was written by Steve Winwood and Jimmy Miller, and originally recorded and released by Traffic as a single in December 1968.
P. P. Arnold’s version was recorded in 1970. It was produced by Eric Clapton and performed by the Derek and The Dominos crew. Check out this band: Eric Clapton on guitar, Carl Radle on bass, Bobby Whitlock on keyboards, Jim Gordon on drums, Bobby Keys on saxophone, Jim Price on trumpet, and Bobby Whitlock and Rita Coolidge on backing vocals. The song opens with the bass and the piano in the center channel, one guitar track on the right doubling the bass part, and another guitar on the left playing some licks. Let’s listen to some of those guitar licks.
Carl Radle and Jim Gordon were a pretty legendary rhythm section. Let’s listen to the groove they’re laying down on the bass and drums.
Now let’s bring in the piano and the organ and see what they add.
And then we’ll bring back the guitar parts. One in the left, one in the right.
All right, let’s hear it in the final mix with the vocals.
Here’s the second verse. This is where the horn section comes in. They’re playing a simple part, but it really adds a lot.
Love how the backing vocals join in for just that one line there. That’s great.
Here’s the next chorus, and this time let’s focus on the vocals, starting with PP Arnold’s lead vocal.
Now let’s listen to just the backing vocals.
After that chorus, they break it down, sort of a repeat of the introduction.
That leads into the third verse. And yes, I get that this song is basically just one chord progression repeated through the whole thing. That may bug some people, but not me. If it’s a good groove, a great feel, and the band is hot, they can work the same part all night, it’s fine with me. Let’s bring up her vocals again for this verse.
And let’s bring up all of the vocals for a minute.
Here’s one last break before the final choruses. I like the piano licks in the background and the way the organ swirls in at the end as they hit the chorus again.
There’s a nice little guitar lick that Eric Clapton plays there. I love how Pat sings that line. And there’s another cool little guitar lick from Clapton in there, too.
“Medicated Goo” by P. P. Arnold
“The Turning Tide” album, which finally brought to light all of these tracks that she originally recorded in 1969 and 1970, came out in 2017, and in 2019 she released her first album of new material in over 50 years. It’s called “The New Adventures of PP Arnold”.
This is a woman who’s seen it all, done it all, and lived to tell the tale. She is a survivor.
Thanks for listening to this edition of the “I’m In Love With That Song” podcast. New episodes come out on the 1st and the 15th of every month, so I’ll see you back here on the Pantheon Podcast Network in about two weeks. Until then, you’ll find all of our previous episodes on our website, lovethatsongpodcast.com, or on your favorite podcast app.
Your reviews and comments are always welcome. And do me a favor– go tell a friend about this show. Your help in spreading the word is better than any advertising.
Remember to support the artists you love by buying their music, especially independent artists like PP Arnold, who count on fans like us. And thanks again for listening to this PP Arnold episode on that good old fashioned “Medicated Goo”.
ADDITIONAL INFORMATION: PP Arnold https://www.pparnold.com/
"See No Evil" (Verlaine) Copyright 1977 Double Exposure Music Ltd. ASCAP
Television came out of the CBGB’s scene in New York (in fact, they were the first rock band to play the legendary club), but they never fit the “Punk” or “New Wave” label. They were unique, which is why their debut album Marquee Moon sounds timeless, as fresh today as the day it was released in 1977. Fronted by two great guitarists– the mercurial Richard Lloyd and the enigmatic Tom Verlaine, who also provided unorthodox vocals and most of the songwriting– Television would influence generations of bands that followed. Though they never achieved commercial success, Marquee Moon regularly appears on virtually every “Greatest Albums Of All Time” list. On this episode, we explore the track that opens the album, “See No Evil“.
“See No Evil” (Verlaine) Copyright 1977 Double Exposure Music Ltd. ASCAP
TRANSCRIPT:
Hello once again, fellow music travelers. My name is Brad Page, and this is the “I’m In Love With That Song” podcast, coming to you on the Pantheon Podcast Network. Each episode of this show, I pick a favorite song and try to get a handle on why it’s such a great song; what is it about this song that draws me in? Hopefully you find something in each of these songs, too. We don’t get deep into technical details or music theory, I’d rather talk about the arrangement, the performances, the production, and the emotional effect of the song. Our journey on this edition of the “I’m In Love With That Song” podcast brings us to the band Television and the song “See No Evil”.
[Music]
A couple of years ago, back on Episode 39 of this podcast, we explored a song by Richard Lloyd, one of the guitarists in Television, and we talked about Television quite a bit then. But last year– in fact, one year ago this month– we lost Tom Verlaine, the other guitarist and primary singer and songwriter for television. He passed away on January 28, 2023. So, I wanted to revisit Television and dive into one of their classic songs.
Television was one of the first, if not the first, so-called punk band to play the legendary CBGB’s club in New York City, and were critical in launching the punk and new wave movement that changed music history. Television was founded in late 1973 when two friends, Richard Myers and Tom Miller, who had run away to New York City in the 60’s, met a guitarist named Richard Lloyd, and they recruited a drummer, Billy Ficca. Billy had played with Myers and Miller before, in a band called Neon Boys, but they never went anywhere. Myers and Miller were actually more successful writing and publishing their own poetry. By the time Television came together, guitarist Miller had changed his name to Tom Verlaine, and Myers, on bass, became Richard Hell. This kind of self-invention is an essential element in the sound and the approach of Television. This was the era of glitter and glam, of long hair and Led Zeppelin. But Television, largely driven by the aesthetic of Richard Hell, wore their hair short and dressed in tattered clothes. Legend has it that Malcolm McLaren was inspired by Richard Hell’s look and brought that image back to England, and the Sex Pistols who he managed.
Patty Smith was there for Television’s early gigs at CBGB’s and as a writer and a critic for magazines like Cream, she was an early booster of Television and the whole CBGB scene, publicizing the sights and the sounds and helping to create the mythology that was the New York punk scene of the 1970’s.
In 1974, the band went into the studio to lay down some demos with Brian Eno producing. But Verlaine was not happy with the results, and no record label signed the band. So they returned to CBGB’s, playing two sets a night. These Eno demo tapes have never been officially released and remain among the most legendary, infamous bootlegs, much like the Beatles in Hamburg, Germany.
Television’s steady gigs at CBGB’s tightened them up and refined their sound. But tensions grew between Verlaine and Hell, as Verlane became more and more the focus of the band, and Hell quit the band in April 1975. It was a pretty acrimonious split. He was replaced by Fred Smith, who’d been playing bass with Blondie.
The band got tighter, better, and some songs got longer, with extended dueling guitars between Verlaine and Lloyd. This interplay is one of the most important elements in Television sound, right up there with Verlaine’s lyrics and idiosyncratic voice. Bands with two distinctive lead guitarists were not new, but Television brought the guitar solo into a punk and new wave context in a unique way. And it’s the thing that I love the most about this band.
Finally, around 1976, Television signed a recording contract with Electra Records. By this point, the Ramones, Blondie, Talking Heads and Patty Smith had already released albums, even though Television had been on the scene first. They hit the studio in November ‘76 with producer Andy Johns, whose resume includes albums by Led Zeppelin and the Stones. Andy Johns has worked on some of the greatest records of all time. Verlane said they chose Andy Johns because he got decent rock and roll sounds without messing with the arrangements.
The first television album, “Marquee Moon”, was recorded in three weeks. The band wanted to keep the sound stripped down and minimal. No horns or strings, no synthesizers, no acoustic guitars. They wanted to capture their live sound, but they had spent months before rehearsing for the record, and they were ready.
Their debut album, “Marquee Moon”, is widely considered one of the greatest debut albums of all time. An incredibly influential album, even though sales-wise it was considered a flop. It sold less than 80,000 copies in the US and didn’t even crack the Billboard Top 200. But today, look at any list of the greatest albums of all time and you’re guaranteed to find Television’s “Marquee Moon” on that list somewhere. It’s just another example where sales and charts are no indication of greatness.
The album opens with the song “See No Evil”. “See No Evil” was written by Tom Verlaine and performed by Billy Ficca on drums, Fred Smith on bass, Richard Lloyd on guitar, and Tom Verlaine on guitar and lead vocals. It was produced by Andy Johns and Tom Verlaine.
The track begins with Verlaine’s guitar on the left. The bass comes in with a few notes high up on the neck, and then the drums join in, along with Richard Lloyd’s guitar on the right.
Now, let’s take a closer look at the guitars here, because there’s two very different approaches happening: Tom Verlaine’s guitar is about as straightforward as you can get. It’s one guitar track, no overdubs or doubling of parts. Just Tom on his 1958 Fender jazz master, probably playing through a Music Man 410HD amplifier.
Lloyd, on the other hand, is playing multiple parts, doubled, tripled or more. Most likely, he’s playing his Fender 1961 Stratocaster through a Fender Super Reverb amp. So, you’ve got this mix of simplicity and complexity going on. Let’s hear that intro again.
This is where Tom Verlaine’s vocals come in for the first verse. Verlane’s vocals are easily the most punky thing about the band. If they had had a different, more traditional singer, they might not have even been lumped in with punk or new wave. Underneath the vocal, the band keeps churning, especially Richard Lloyd’s guitar and Billy Ficca’s drums, both giving the song the sound of a repetitive, unstoppable machine. Remember, this is the first song on their first album, and the first thing we hear out of Tom Verlaine’s mouth is “What I want, I want now” — quite a statement of purpose from a young band breaking new ground.
That delivers us to the first chorus. As the backing vocals repeat, “I see no”, Verlaine sings over the top, “I understand all destructive urges, it seems so perfect”. And then the band builds to a climax on “I see no evil”.
I love that chorus. There’s just so much great stuff going on there. Let’s listen to the bass and drums first. Listening to them by themselves, you might get the impression of a disco song. This was New York in 1976. Disco was at its peak and hadn’t worn out its welcome yet. That sound was in the air everywhere in New York City at that time, and a little bit of that flavor made its way into this track.
Add the guitars back in and they bring the edgier rock and roll elements again. Listen to the contrasts between the guitars. Verlaine’s guitar on the left plays big slashing chords, bringing the aggression, while Richard Lloyd’s guitar is playing arpeggios on the right, adding a sense of suspended tension, waiting to be resolved by that final walk down the scale to return to the verse melody.
And here we have the second verse. Let’s talk about Verlaine’s lyrics for a minute. Rarely anything literal, his lyrics move from really clever wordplay to indecipherable phrases. This verse has a little of both. It begins, “I get ideas, I get a notion, I want a nice little boat made out of ocean”. I like that one.
Then it continues. “I get your point. You’re so sharp”. That’s great. And then he sings “Getting good reactions with your Bebo talk”. Now, if you have any idea what “Bebo talk” means, please let me know. I think maybe only Tom Verlaine understood that line.
Now, if I had to guess, I would say that he was singing “when your people talk” there. But according to the official lyric sheet that comes with the album, it’s “Bebo talk”, so your guess is as good as mine.
There’s a nice, tasteful little drum fill there by Billy Ficca, and that gets us into the next chorus.
This time. Let’s bring up the vocals on the chorus.
That scream at the end there is great. That leads right into a guitar solo by Richard Lloyd. Both Verlaine and Lloyd were excellent soloists with their own distinctive style. On some Television tracks, they trade lines or play off of each other, but on this song, Richard Lloyd takes the solo by himself. He’s overdubbed this solo. You can hear his multi layered, repetitive pattern continuing to play in the right channel while the solo sits on top, in the middle. He begins with a melodically climbing pattern.
He tosses off some rapid-fire licks there, and then plays a descending phrase that has a middle eastern feel to it. I really like this bit a lot.
Again, some pretty flashy playing there at the end. As guitarists, both Lloyd and Verlaine were in a whole other league compared to most of the bands on the CBGB scene.
Let’s bring up the bass and the drums on this final verse.
Verlaine concludes this verse by returning to the opening lines, “what I want, I want now and it’s a whole lot more than anyhow”. And then he adds, “get it?” to drive the point home.,
Now as we reach the end of the song, they kind of merge the verse and the chorus together. Here’s what the guitars, bass and drums start playing. On top of that, you have one voice repeating “I see no evil”, while at the same time, another voice sings variations on “I’m running wild with the one I love. Pull down the future with the one you love”. It’s a somewhat chaotic but exuberant call to action. It’s a great way to end the song, and to open one of the most essential albums in rock history.
The bass is really grooving during this part. There’s also a guitar playing a nice little descending part in there, too.
Television – “See No Evil”.
Many critics raved after the release of the “Marquis Moon” album, the band toured both the US and the UK. They were more successful overseas, but in the US, outside of New York, they were relegated to playing clubs and college towns. Verlaine believed that the band were just too closely identified with that New York scene and that the punk label hurt them.
The band was broke. At one point, they had to sell all of their equipment just to survive, and Richard Lloyd was developing a serious heroin habit. The band recorded their second album, “Adventure”, released in April 1978. The album doesn’t really capture the magic of that first record. For one thing, Richard Lloyd had been hospitalized for weeks due to a heart condition caused by his drug abuse, and so his participation on that second album was limited.
At any rate, the second record fared no better than the first, and by July 1978, Television called it quits. Years later, a few reunions would follow, and they even recorded one final album in 1992.
As I mentioned at the top of the show, Tom Verlaine passed away one year ago, on January 28, 2023. He was 73 at the time of this recording. Billy Ficca, Fred Smith, and Richard Lloyd are still with us.
Thanks for listening to this episode of the “I’m In Love With That Song” podcast. I will be back in two weeks with another new episode. Until then, catch up on all of our previous shows on our website, lovethatsongpodcast.com. Or you can also find us on any podcast, app or service– Amazon, Google, Apple, Spotify, iHeartRadio, Yada yada yada, this podcast is available on all of them.
It always helps us out if you write a review and post it wherever it is that you listen to the show. And please, if you’d like to support this podcast, tell someone about it. Share it with your friends. That’s the best advertising we could ever possibly have.
On behalf of everyone here at the Pantheon podcast Network, I thank you for supporting all of our shows, and thanks for listening to this episode on “See No Evil” by Television.
ADDITIONAL INFORMATION: Television (band) https://en.wikipedia.org/wiki/Television_(band)
CBGB’s club https://www.cbgb.com/
Tom Verlaine https://en.wikipedia.org/wiki/Tom_Verlaine
Richard Lloyd https://en.wikipedia.org/wiki/Richard_Lloyd_(guitarist)
"Message Of Love" (Jimi Hendrix) Copyright 1970 Experience Hendrix LLC
It’s never a recipe for making great art when you’re under pressure to deliver an album to a rival record label due to contractual obligations… though Jimi Hendrix was never satisfied with the result, the Band Of Gypsys album became a very influential album and remains a favorite among Jimi fans and guitar players of all stripes. On this episode, we journey back to New Years 1970 to explore “Message of Love” from this legendary album.
“Message Of Love” (Jimi Hendrix) Copyright 1970 Experience Hendrix LLC
— Hey, I was just thinkin’… now would be as great time for you to check out the other Rock Podcasts on the Pantheon Podcasts network!
TRANSCRIPT:
Greetings to all, here on the third stone from the sun and beyond. This is the “I’m In Love With That Song” podcast beaming across the cosmos on the Pantheon Podcast Network. I’m your host, Brad Page, and each episode of the show, I pick a song and we explore it together, listening to all the nuances that make it one of my favorite songs. You don’t need any musical skill, knowledge or experience here– just a love for music and a little curiosity.
Well, here we are at the start of a brand new year, and I was trying to think of an appropriate subject for a January 1st episode. I thought, “we’ve talked about a lot of guitar players on this show…” I love guitar players. But I realized that, after over 140 shows, we’ve still never talked about one of the most important guitarists of all time. So let’s rectify that. It’s about time we talked about Jimi Hendrix.
Of course, Jimi Hendrix is a legend, with a legacy of some really important and influential records. It’d be tempting to pick a song like “Purple Haze” or “Voodoo Child”, “All Along The Watchtower”, or his version of “The Star Spangled Banner”. Those are all historically important tracks. But I wanted to do something different.
So, I chose a song from very late in his career when Jimi was at a turning point in his career– at a crossroads, to use a cliche. So, we’re going back to a New Year’s Eve over 50 years ago, when 1969 gave way to 1970, with Jimi Hendrix and the Band of Gypsys ringing in the new year at the Fillmore East, playing “Message Of Love”.
[Music]
Everybody knows that Jimi Hendrix is a legend, an icon. There are literally dozens of books written about him; there are documentaries. So I’m not going to go over a detailed history of Hendrix, but to understand how Jimi Hendrix ended up playing at the Fillmore East on New Year’s Eve, first we have to go back to his early years in New York City.
Jimi Hendrix was a working musician, paying his dues and playing as a sideman to people like the Isley Brothers and Little Richard. In 1965, he ended up as a guitarist in Curtis Knight’s band, playing cover songs on the New York and New Jersey circuit. Jimi eventually grew tired of that and formed his own band, Jimmy James and the Blue Flames.
It was during a stint playing in Greenwich Village, New York, when he was“discovered” by Chas Chandler, former bassist for The Animals, who was transitioning into being a manager. Chandler brought Jimi over to England, and they put together the Jimi Hendrix experience with bassist Noel Redding and drummer Mitch Mitchell. And the rest, as they say, is history.
Now here’s where things get messy. Back in ‘65, when he was playing with Curtis Knight, Jimmy had signed an exclusive recording contract with a guy named Ed Chaplin. Jimi had also signed a contract with producer Juggie Murray. But hey, look, Jimi was a struggling musician, just trying to find some success– any success. He was a guitar player, not a lawyer, and he was naive. He’d sign anything if he thought it could help him at the time.
But now, with the Jimi Hendrix Experience having hit records on the Warner Brothers label, Ed Chaplin came a calling in 1967 with his contract from two years earlier, and he sued.
Hendrix had made some recordings with Curtis Knight back in ‘65. Those records are not very good, but Chaplin licensed them to Capitol Records, who then released two albums worth of that stuff. In fact, at one point, you had the legit Warner Brothers records competing against the Capitol stuff at the same time.
Here’s a song from the Curtis Knight sessions; it’s an instrumental called “Knock Yourself Out”, which Jimi got a co-writing credit on.
{music]
Eventually, a settlement was arranged with an agreement that Ed Chaplin and Capitol Records would get the rights to one Jimi Hendrix album. Hendrix had just finished recording “Electric Ladyland”, which was a double album, so it was agreed that the next album would be given to Capitol.
But things in the Hendrix camp were tough. First, Chas Chandler had left the fold, and not long after, Noel Redding quit. Jimi brought in his old army buddy, Billy Cox, to play bass. Then Jimi rounded up a bunch more musicians, adding additional percussionists and a second guitar player. He called the band “Gypsy Sun and Rainbows”, and this was the band that played at Woodstock.
[Music]
But a month later, Jimmy broke up that band. It just wasn’t working for him.
Meanwhile, the pressure is on. He still owes one album to Capitol, and Jimi didn’t even have a band. So, Jimi, Billy Cox, and drummer-vocalist Buddy Miles put together a band. They made a deal with promoter Bill Graham to play four shows at the Fillmore East in New York: two shows on New Year’s Eve, and two shows on New Year’s Day, 1970. All four shows would be recorded, and they would release the best tracks as a single live album to fulfill the Capitol Records contract.
Before the show, Jimi, Buddy and Billy, calling themselves “Band of Gypsys”, worked up a set consisting mostly of new material, including “Machine Gun”, one of Jimi’s most incredible guitar performances.
Both Buddy and Billy were veterans of R&B bands, and they brought a funkier, soulful groove to the songs that the Jimi Hendrix Experience just never had. Buddy was also a great singer, too. His lead vocals are featured on two songs on the “Band of Gypsys” album. Buddy introduces this track on the record.
[Music]
The song starts off with a chromatically ascending riff before kicking off into the main riff of the song.
[Music]
Let’s just hear Jimi’s guitar on that riff.
[Music]
Behind that, Billy Cox is playing a pretty busy bass part over a pretty simple drumbeat, laid down by Buddy Miles. Let’s hear their parts.
[Music]
They only play through that riff twice before starting the first verse, which is a variation on the main riff, simplified a bit to leave room for the vocals.
[Music]
I really like the backing vocals there. One of the things about Jimi’s previous band, the Jimi Hendrix Experience, was that they didn’t have a strong vocalist in the band to back up Jimi. Buddy Miles was a powerhouse singer, and he adds a lot. And with Billy Cox chipping in, these backing vocals were kind of a whole new sound for Jimi.
[Music]
After a few lines of the verse, we get a new short riff with Jimi and Billy playing the same part together mostly. And that brings us back to the verse riff.
[Music]
And that brings us to another new riff. This one’s a little more rapid fire, with Jimi and Billy doubling the part, and Buddy scat singing the riff with them.
[Music]
Now here we have a somewhat quieter or gentler part. Jimi is playing some of those chords he was famous for; as much as he’s thought of as an incredible lead guitarist– and he was– he was also a killer rhythm player.
[Music]
Jimi’s rhythm guitar playing is as identifiable as his lead playing. Let’s hear this part again without the vocals, so that we can hear a little more of his guitar.
[Music]
The verse riff, the backing vocals come back in, but this time, Jimi’s just going to vamp a bit around the riff. At this point, Jimi is going to crank up the volume and play a solo, and I think now is as good a time as any to talk about Jimi’s guitar sound. Though he played other guitars, Jimi was primarily associated with the Fender Stratocaster. As a left-handed player, he would take a right-handed Strat, flip it upside-down and restring it, and that’s what he was playing this night with the Band Of Gypsys.
Now, playing the guitar upside-down like that meant that things like the volume & tone controls and the vibrato arm were in a different position than they would be if you were playing it normally. And Jimi was able to take advantage of that, particularly with the vibrato or whammy bar.
Jimi also pretty consistently used Marshall amplifiers, I think typically Super 100’s, but don’t quote me on that. But that was the standard beginning and end of his signal chain: a Fender Strat into a Marshall amp. But what went between his amp and guitar? That’s another story that changed frequently.
Jimi was always looking for new sounds, and he would explore any new effects gadget that came his way. Guitar effects pedals were still a relatively new thing in the late 60’s. Jimi was friends with a guy named Roger Mayer, an electrical engineer who had worked for the British Navy. He started building effects devices for guitars, like fuzz pedals, and one of the earliest units he built was the Octavia, which takes the input signal from the guitar and generates that sound one octave higher, then mixes it back in with the original guitar sound, and adds distortion or fuzz. Like most guitar pedals, it would sit on the floor between your guitar and amp, with a button you’d press with your foot to turn it on and off.
Jimi first used the Octavia on the solo for “Purple Haze” in 1967. Roger Mayer would continue to tweak and modify the Octavia for Hendrix. And Jimi was using one of those later versions for this Band Of Gypsys show.
You can hear the Octavia most notably on the song “Who Knows” from this show. Jimi was also using a fuzz pedal built by Roger Mayer. It was either a Fuzz Face or an Axis Fuzz, depending on what you read. He had two other effects pedals on stage this night: a Vox wah-wah pedal, which you can hear on the song “Changes”:
[Music]
And he was using a Univibe, a new and pretty innovative pedal for its time. It’s a little tough to explain what a Univibe actually sounds like– it’s a cross between phasing, a chorus sound, and vibrato, but you can hear it in action on the song “Machine Gun”.
[Music]
Now, there is one other thing to take into account regarding Jimi’s guitar sound, and that’s the order in which the effects are plugged into each other. Believe it or not, it makes a big difference in the sound. For example, a wah-wah pedal plugged into a fuzz pedal sounds significantly different than the other way around, a fuzz pedal plugged into a wah. This can lead to endless rounds of debate and conjecture, but luckily, we have some photographs from this show that pretty clearly show the sequence of his pedals that night:
His guitar is plugged into a Vox wah-wah pedal, which is plugged into the Octavia, which is plugged into the Fuzz Face, that’s plugged into the Univibe, and then that is finally plugged into his Marshall amplifier. Wah pedal, Octavia, Fuzz pedal, Univibe.
Okay, so back to “Message Of Love”. At this point, the fuzz is really going to kick in, and Jimi’s going to go for his first solo.
[Music]
And now, Jimi’s going to step on that wah-wah pedal.
[Music]
Now Jimi’s gonna hit a harmonic and quickly bend it down with the whammy bar, then turn off the wah pedal for the rest of the solo.
[Music]
You can hear them slow the tempo down there.
[Music]
The band is going to break, and then Jimi is going to do a little scat singing, this time singing along to his guitar part.
[Music]
They’re gonna build it back up here. Jimi and Buddy are gonna add some vocals.
[Music]
It sounds a little rough coming back into the riff there. I can’t imagine they had more than a handful of rehearsals before these shows, so there’s bound to be some rough spots. But that’s what makes this a truly great live album. There’s a real “edge of your seat” energy to this record. They didn’t go back and fix up every mistake– this is how it really went down that night, New Year’s 1975.
Jimmy’s gonna cut loose with the second solo. Let’s focus in on Jimmy’s guitar.
[Music]
They bring back that chromatic climb from the beginning of the song to wrap it all up. Jimi’s just messing around with the whammy bar and some feedback.
[Music]
The Band of Gypsys – “Message Of Love”
The song has also been credited as “Message To Love”, but on all the versions of “Band of Gypsys” that I have, it’s referred to as “Message Of Love”. So that’s what I’m sticking with.
The “Band of Gypsys” album was commercially very successful. Critics didn’t necessarily love it, and Hendrix himself was never satisfied with it; he felt it was rushed and it didn’t sound great, and if it wasn’t for the contractual obligations, he wouldn’t have released it. Not that it mattered. By the time the album was released, the band had already broken up.
But the album has gone on to be very influential, paving the way for future funk rock acts. And it was an important touchstone, particularly for black artists making their mark in the rock world, like Living Color and Lenny Kravitz. And it remains one of my favorite Jimi Hendrix records, and just favorite guitar records in general.
Thanks for joining me for this musical journey on the “I’m In Love With That Song” podcast. As always, I’ll be back in about two weeks with another new episode. Until then, get your fix of the “I’m In Love With That Song” podcast by listening to any of our previous shows on our website, lovethatsongpodcast.com, or find us on your favorite podcast app.
You can keep in touch with us on Facebook, just look for the “I’m In Love With That Song” podcast to find our page. And please support the show by sharing it with your friends and just telling somebody about it.
On behalf of the Pantheon Network of podcasts, I gently remind you to support the artists that you love by buying their music, and I’ll see you back here next time. Thanks for listening to this episode on Jimi Hendrix and the Band of Gypsys. Happy New Year, everyone.
Click here to play the podcast