Episode 3.3: The Smoker You Drink, The Player You Get

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The Smoker You Drink, The Player You Get – Joe Walsh – ABC-Dunhill – 1973

In the 2013 documentary History of the Eagles, the late Glenn Frey describes his bandmate Joe Walsh as “an interesting bunch of guys.” The statement is meant to be comedic relief, there to set up the story of how the wild, unpredictable Joe Walsh — the one famous for hotel room trashing antics — ushered in a new chapter of the Eagles’ late-70s hedonism. But, if you take a closer look, the description rings true for his musical sensibilities, as well.

Few places can it apply more aptly than 1973’s The Smoker You Drink, the Player You Get, Walsh’s second solo album in collaboration with his band Barnstorm. Though the album would come to be remembered mostly for its lasting arena rock hit “Rocky Mountain Way,” Walsh explores all of his musical personalities, from the dad rock shredder to the softer, more introspective, singer-songwriter to the psychedelic-influenced long-winded jammer. In this episode, we dig through the varied influences Walsh pulls from, discuss Barnstorm members’ individual contributions, unpack the multitudes Joe Walsh contains, and more.

Listen to The Smoker You Drink, The Player You Get: Spotify *
*at this time, The Smoker You Drink, The Player You Get is not available in the US on iTunes, nor is it in full on YouTube.

Subscribe on iTunes

Episode notes and postscript corrections

  • Hello, and welcome to a fun and chill and casual summer episode. Think of this as a not-so-guilty-pleasure beach read, but let it also be a lesson in not judging books by their covers!
  • Joe Walsh has had quite a career, from the James Gang to Barnstorm to the Eagles, and, wow, quite a life. When we getting the biopic, Hollywood?
  • Peep our further watching links below to watch Joe Walsh’s apology to millennial audience members because l o l.
  • Shoutout to Joe Walsh for embracing different technology on this album, particularly on this track.
    • For real, you would never associate an ARP synth with early-70s Cal rock.
    • That talk box tho. Here’s a more in-depth explainer of what it is and how Joe Walsh came to use it.
  • We love The Parent Trap  (1998) do not @ us.
  • If you love our love of sister songs, get ready for our discovery of cousin songs!
  • Isn’t it cool how centuries-old styles can influence modern classic rock? Here’s a little explainer on what a pastoral is, if you’re curious.
  • Friendly reminder to hit up our master playlist on Spotify to listen to all these similar and influential tracks we’re dropping.
  • Shoutout to Joe Walsh for letting all members of Barnstorm collaborate and write tracks or sing them on this album. It’s not your typical solo venture.
  • Sorry not sorry we seem to say “Jenny Lewis should cover this” in multiple episodes. She’s just guud.
  • Check out our further watching links below to see Joe Walsh continue to shred tf out of “Meadows” in this century.
  • Friendly reminder that we have a glossary to check out, if you’re unfamiliar with some of the millennial or ‘77MC-native slang we throw around from time to time (from who JB Homie is to what we mean by RihannaMagic.gif)
  • You know we like to stand up on our “bands are a sum of their parts” pedestal, and this is no different — all members of Barnstorm had their own unique contributions. Positioning Joe Walsh as a solo star was very much a label-head marketing move (and one that ultimately worked to his benefit).
  • Hi, the Eagles love they money, bye.
  • Legacy is such a weird thing, and because Joe Walsh, and this album, have such eclectic styles (aside from his distinct guitar playing style), how do you trace their lineage to this generation? We have some of our thoughts in our master playlist, but we’re still thinking about it.
  • Let us know what you think:
    • Does this album have stand-out elements that make it immediately identifiable with Joe Walsh, or does it sound like a pleasant, but “could be anyone” vibe? Is that even necessarily a bad thing?
    • Did we miss anyone? Who today shows strong Walsh and/or Barnstorm influence?
  • Share all your thoughts with us!

Favorite track(s): Rocky Mountain Way and Dreams (Carly) | Rocky Mountain Way (Carrie)
Least favorite track: Midnight Moodies (Carly) | Wolf (Carrie)

Album credits:

  • Joe Walsh — Lead and backing vocals, lead and slide guitars, bass guitar, keyboards, synthesizer
  • Kenny Passarelli — Bass guitar, guitar, backing vocals, lead vocals (“Happy Ways”)
  • Joe Vitale — Drums, percussion, piano, keyboards, electric piano, flute. backing vocals, lead vocals (“Book Ends”, “Days Gone By”)
  • Rocke Grace — Keyboards, backing vocals
  • Joe Lala — Percussion
  • Venetta Fields — Backing vocals
  • Cydie King — Backing vocals

Further watching:
“Meadows” live | 2017
Joe Walsh survived some serious good times as a young rocker (Stephen Colbert interview) | 2017
Joe Walsh’s apology to millennials / “In The City” live 
NAMM Q&A | 2016
Joe Walsh Les Paul Set-Up (ed note: ohmygod this is just delightful) | 2015
60 Minutes Australia interview | 2014
Joe Walsh on Letterman talking about an earthquake (ed note: oh my god) | 1987 

“Rocky Mountain Way” live with the Eagles | 1977  

Further reading:  
45 Years Ago: Joe Walsh Barnstorms Through ‘The Smoker You Drink…’ | Ultimate Classic Rock (January 2018)
The Tao of Joe Walsh | The Paris Review (September 2013)
Joe Walsh Discusses His Career, Gear, and New Album | Guitar World (June 2012)
Joe Walsh, Child of the Silent Majority: Ex-James Gangster Tends His Garden (ed note: this is vintage Cameron Crowe goodness) | February 1975 

Episode 3.2: Viv Albertine talks Dionne Warwick, the Slits, feminism, and more

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The Slits now-iconic 1979 debut Cut is an unusual, but delightful, melting pot of sounds: strains of UK punk mix with Jamaican reggae, girlish chants dance with abrasive DIY noise. Slipping between the grooves and finding a home within the mix — perhaps most indecipherably, or even curiously, to the casual listener — is the influence of the early-60s pop standards of Dionne Warwick and Burt Bacharach.

Growing up in post-war Britain in the 1960s, Slits guitarist Viv Albertine heard plenty of Warwick’s hits while listening to pop radio. Later, as a scrappy young woman running around London with next to no money and not much to do in the early-to-mid ‘70s, she came across a compilation album — Dionne Warwick’s Golden Hits, Part One — in a used record shop with her bandmates. It became not just an album that they spent countless hours listening to together, playing it front-to-back over and over again, but one they — particularly Viv and lead singer Ari Up — would study, dissecting songs to their individual parts and taking note of the details, attempting to learn how to emulate Warwick and Bacharach in their own unique way.

For the past 40 years, the Slits have served as touchstones for female musicians, often cited for blazing a necessary trail for the coming riot grrrl movement and beyond. Today, we have the privilege of being able to look to Viv Albertine, and the Slits as a whole, for inspiration and empowerment, and are finally beginning to see their important role in history recognized in more mainstream circles. But in their formative years, female role models, particularly musicians, were much harder to come by; Dionne Warwick was one of them.

In this very special episode, we are so pleased to discuss Dionne Warwick’s Golden Hits, Part One with Viv Albertine herself. Join us for a wide-ranging conversation that touches upon Warwick, Bacharach, and Hal David’s influence on the Slits’ music, as well as their own lives as young women in late-70s and early-80s London, the importance of representation, and so much more.

Listen to Dionne Warwick’s Golden Hits, Part OneSpotify | YouTube
Listen to the Slits’ Cut: iTunesSpotify | YouTube

Subscribe on iTunes
(and while you’re there, rate and review us in the iTunes store)

Read the full transcript of our interview with Viv Albertine here

Episode notes and postscript corrections

First and foremost: We’ve said this a million times, but we truly cannot recommend Viv’s books more or praise them highly enough. Both have had a tremendous impact on us, and we have yet to meet anyone who has read either and cannot say the same.

Support your local small bookstore or check them out here:
To Throw Away Unopened | 2018
Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. | 2014 

Follow our master playlist on Spotify to hear every song we discussed today
Follow Viv Albertine on Facebook and Twitter 

Follow ’77 Music Club on Facebook and Twitter or shoot us an email if you have thoughts

Further watching:
Here to be Heard: The Story of The Slits documentary trailer | 2017
Viv Albertine in conversation at British Library | 2016
The Culture Show: Girls Will Be Girls (BBC women in punk documentary) | 2014
“Typical Girls” music video | 1979
The Slits live performance and interview | 1970s; specific year unknown

Dionne Warwick and Burt Bacharach: Live at the Rainbow Room | 1996
Burt Bacharach… This Is Now
(BBC documentary) | 1996
“Walk On By”
live
| 1965
“Don’t Make Me Over” live | 1963

Further reading: 
On Viv and the Slits
New Doc on The Slits Questions Why These Pioneering Punks Have Been Overlooked | Paper (May 2018)
Viv Albertine Has Used Her Rage to Write Herself into Punk History | Noisey (April 2018)
The Slits Are Refusing to be Written Out of Music History | Noisey (October 2017)
The Slits’ Viv Albertine Defaces Male-Focused Punk Exhibition | Pitchfork (July 2016) ed note: HYFR, BAMF move.
How we made Cut | The Guardian (June 2013)
Like Choosing a Lover: Viv Albertine’s Favorite Albums | The Quietus (April 2013)
Girls Unconditional: The story of the Slits, told exclusively by the Slits | Loud and Quiet (July 2009)
Cut re-release album review | Pitchfork (February 2005)

On Dionne Warwick, Burt Bacharach, and Hal David
Anyone Who Had a Heart: My Life and Music (Burt Bacharach’s memoir) | 2014
My Life, as I See It  (Dionne Warwick’s memoir) | 2010

50 Essential Albums of 1967: Dionne Warwick’s Golden Hits, Part 1 | Rolling Stone (September 2017)
Burt Bacharach interview: what was it all about? | The Telegraph (June 2013)
Dionne Warwick: ‘I refused a couple of Bacharach and David songs’ | The Guardian (November 2012)
Dionne Warwick sings Hal David’s last lyrics | CNN (September 2012)
Music And Lyrics: Burt Bacharach and Hal David | NPR (May 2010)
Bacharach and David: Reconciled and Honored | LA Times (May 1993)
Singers: Spreading the Faith | Time (July 1967)

 

Episode Credits:
Creator and co-host: Carly Jordan

Co-host, editor, producer: Carrie Courogen
Special thanks to: Becky Kraemer and Viv Albertine

Viv Albertine talks Dionne Warwick, the Slits, feminism, and more (full transcript)

The following phone interview conversation took place on June 24, 2018. It has been condensed and edited for clarity.

Carly Jordan: Thank you so much for talking to us for the show. I was really psyched that you wanted to talk about Dionne Warwick.

Viv Albertine: Oh, Dionne Warwick, yes! You don’t think that was a weird one?

CJ: No, I didn’t think that was weird at all.

Carrie Courogen: No.

CJ: We didn’t think that was weird.

CC: We thought it was really interesting.

CJ: Because in your first book, I remember reading about all of the different artists that influenced you when you were coming up in the ‘70s, and none of them were what I thought they were gonna be, and they were so varied and so interesting. So, I was not at all surprised that you chose Dionne Warwick.

VA: Oh, good! [laughs]

CJ: So, when did Dionne Warwick first come to your attention and what about her voice stuck out to you in particular?

VA: Well, I think I first probably heard Dionne Warwick in the ‘60s when I was just listening to chart music, because she had a couple of hits, but the reason I chose the album was because it was one of about four albums we had within the Slits, when we all sort of lived together and shared everything and had to go everywhere together because just the way we dressed enacted — we were being attacked all the time, so we spent so much time together and we just sort of pulled the few things we had. And, back in those days, you know you had a few albums ‘cause they cost so much. We got Dionne Warwick, I think, Golden Hits, Part One, which is her singing the Burt Bacharach – Hal David songs, from the record exchange shop, so, it was a used copy. And we absolutely sort of studied it, you know?

Continue reading “Viv Albertine talks Dionne Warwick, the Slits, feminism, and more (full transcript)”

Celebrate Father’s Day with ’77 Music Club

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Break out your cargo shorts and New Balances, fire up the grill, and crack open a cold one with the boys. We here at ’77 Music Club are fond proponents of dad rock and are here to soundtrack your day. We rounded up our favorite episodes on the genre below. Tune in and turn it up — but please, for the love of god, don’t dance.

 

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Episode 10: Tom Petty and the Heartbreakers – Tom Petty and the Heartbreakers 

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Episode 12: Jackson Browne – Running on Empty

somegirlsEpisode 2.1: Rolling Stones – Some Girls

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Episode 2.3: Van Morrison – Moondance

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Episode 2.4: Fleetwood Mac – Tango in the Night 

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Episode 2.8: Neil Young – After The Gold Rush

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Episode 2.11: Electric Light Orchestra – A New World Record

Episode 3.1: Eli and the Thirteenth Confession

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Eli and the Thirteenth Confession – Laura Nyro – Columbia – 1968

The source of inspiration for her peers and generations of songwriters to come, Bronx-born Laura Nyro has a legacy that has only grown in legend and mysticism since her untimely death in the early ‘90s. Lauded by Carole King, likened to Joni Mitchell, and emulated by some of today’s cleverest singer-songwriters, her style was singular, speaking of and to the female experience in a way that was at once specific and universal, relatable and abstract.

In this episode, we comb through her 1968 album Eli and the Thirteenth Confession, a collection of songs so rife with evocative imagery and sense of self that it brought up many of our own memories, connections to our own experiences as young women in 2018, and of course, musical earworms. For a 50-year-old album recorded and produced by a 20-year-old girl, this prodigious record still remains astonishingly relevant.

Listen to Eli and the Thirteenth Confession: iTunes | Spotify | YouTube

Subscribe on iTunes

Episode notes and postscript corrections

  • Hello, and welcome to a new season of the pod! Literally nothing has changed; we’re just calling it a new season because we took a break (because we are our own bosses who determine when and why we go on hiatus and when and why we come back!)
  • Some things we mentioned to check out:
    • The Rock & Roll Explorer Guide to New York City is a dope book if you’re into New York and music and history and where they all intersect and want to know where everything happened. We were pleased to moderate the discussion for the book’s launch at Rough Trade this week.
    • ‘80s Redux is a dope book if you’re into music and the ‘80s and photography of cool people doing cool things.
  • So, uh, more than a year into this pod and this is the first time we’ve actually covered a ‘60s album. Can you believe?
  • We’re gonna talk about this a lot because we’re so shook by it, but something to keep in mind during this whole thing: Laura Nyro was just 20 when this was made. TWENTY.
  • Lol here we are again debating an album’s season.
    • Is Eli and the Thirteenth Confession a fall? Or a summer?
    • Do other normal people classify music like this?
  • Don’t forget to hit up and follow our master playlist on Spotify to hear all these songs, the covers that actually made money, and more!
  • “YES, WE KNOW.” — all of you when Carrie says she hates flutes
  • See our further watching links below to see the debut of “Poverty Train” at the Monterey Pop Festival in 1967. Cry your eyes out when you hear they were yelling “beautiful” at her, knowing she spent her whole life since thinking they were booing.
  • Evergreen Take: “Dated” doesn’t always necessarily mean bad or unenjoyable.
  • “Lonely Women” clearly created a divide in interpretation between the two of us. Slide into our DMs or email us to let you know what you think. It’s complicated and we’re interested.
  • In case you missed it, this album is feminist as hell, and it’s fascinating and surprising to see how much of it translates to today.
  • See our further reading links below for some more info about Laura Nyro’s relationship with Maria Desidero, who may or may not have been the inspiration for “Timer” and “Emmie.”
  • We definitely have very specific wishes of songs that we’d want other bands or artists to cover — so specific we can hear how they’d sound in our brains — that will likely never, ever happen. Message us to find out / Please tell us if you’ve done this too so we don’t feel too weird.
  • Don’t listen to “December’s Boudoir” unless you’re ready to get the Sunday Sads.
  • Talk to us about anything and everything ~feminism~ we covered re: “The Confession” — i.e. second wave feminism vs. fourth wave, “as a father of daughters…” — ANYTHING! We love to talk about this stuff.

Favorite track(s): Luckie and Timer (Carly) | Eli’s Comin’ and Stoned Soul Picnic (Carrie)
Least favorite track: December’s Boudoir (Carly) | December’s Boudoir (Carrie)

Album credits:

  • Laura Nyro — piano, vocal, harmonies, “witness to the confession”
  • Ralph Casale — acoustic guitar
  • Chet Amsterdam — acoustic guitar, bass
  • Hugh McCracken — electric guitar
  • Chuck Rainey — bass
  • Artie Schroeck — drums, vibes
  • Buddy Saltzman — drums
  • Dave Carey — percussion
  • Bernie Glow, Pat Calello, Ernie Royal — trumpet
  • George Young, Zoot Sims — saxophone
  • Wayne Andre, Jimmy Cleveland, Ray DeSio — trombone
  • Joe Farrell — saxophone, flute
  • Paul Griffin — piano on “Eli’s Comin'” and “Once It Was Alright Now (Farmer Joe)”

Further watching:
Laura Nyro in the Connecticut Women’s Hall of Fame | 2014
Laura Nyro’s Rock and Roll Hall of Fame induction | 2012
Alice Cooper discusses his love for Laura Nyro (ed note: OH MY GOD) | 2011
“Poverty Train” at the Monterey Pop Festival (with current intro from D.A. Pennebaker, Michelle Phillips, and Lou Adler) | 1967

Further reading: 
Laura Nyro remembered: “A musical force of nature” | Uncut (June 2017)
Laura Nyro’s Lasting, Eclectic Musical Legacy | NPR (December 2011)
Eli and the Thirteenth Confession, Maria Desiderio | Rabdrake Blog (October 2009)
An Enigma Wrapped in Songs | The New York Times (October 1997)
Laura Nyro’s legacy of passion | Entertainment Weekly (April 1997)

 

Celebrate CBGB with us and the Morrison Hotel Gallery

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While we’re fans of several of the Morrison Hotel Gallery’s shows, their latest exhibit, CBGB: The Age of Punk, is one close to our musical interests here at the pod. With works from artists and photographers like Lynn Goldsmith, Chris Stein, and Mick Rock of the scene’s greatest icons, from The Ramones to Sonic Youth, the gritty, raw energy of ’70s and ’80s Bowery is sure to excite and inspire the punks in all of us to go out and make some noise.

CBGB: The Age of Punk will be on display at the gallery’s three locations (New York, Los Angeles, and Maui) from May 18 to June 17. For more information, visit www.morrisonhotelgallery.com
Whether you’re planning on checking out the show or not, we rounded up our favorite episodes on the era here to transport you back to 315 Bowery for an hour or so. The time machine lust is very real.

 

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Episode 4: Tom Tom Club – Tom Tom Club

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Episode 9: Television – Marquee Moon

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Episode 10: Tom Petty and the Heartbreakers – Tom Petty and the Heartbreakers (fun fact, they played CB’s in their early days!)

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Episode 2.5: Blondie – Parallel Lines 

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Episode 2.7: Patti Smith Group – Easter

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Episode 2.9: Lou Reed – “Street Hassle”