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.

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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 

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 2.11: A NEW WORLD RECORD

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A New World Record – Electric Light Orchestra – United Artists – 1976

Get out your cargo shorts and fire up the grill, because this week we’re going back to Dad Rock territory with ELO’s landmark 1976 album A New World Record. Often thought of as the best representation of ELO’s sound — and the pinnacle of Jeff Lynne’s arrangement, writing and production — this set of songs draws from a bevy of richly melodic influences, from the Beatles to the Beach Boys to ‘50s street corner doo-wop to possibly even John Cale.

With such perennially loved sounds baked into its foundation, what makes A New World Record sound dated to modern ears? How could arrangements and orchestrations of such timeless origin be connected so deeply to one decade? Is it possible, in 2018, to genuinely love this album for what it is, with no trace of irony? Join us for a discussion about that, musical legacies and evolution, and song connections — and maybe, if you listen closely, you’ll hear a dad joke or two.

Listen to A New World Record: iTunes | Spotify | YouTube

Subscribe on iTunes

Episode notes and postscript corrections

  • Hello, and welcome to another episode with your sensitive and feels-feeling hosts!
    • We are highkey passionate the concepts of legacies, preserving history and learning from it, keeping stories and traditions alive, and, as millennials, carrying the torch. As always, we would love to talk to you about how we, as millennials, can carry the torch.
  • We’ve discussed the broad landscape of music that came out in this same time period on several occasions. For more historical context or further discussions, check out our episodes on Television’s Marquee Moon, Tom Petty & the Heartbreakers’ self-titled debut, Jackson Browne’s Running on Empty, Rolling Stones’ Some Girls, Blondie’s Parallel Lines, and/or Patti Smith’s Easters.
  • Seriously, though, when is the last time Jeff Lynne was seen without his sunglasses?
  • Take: “Dated” doesn’t always necessarily mean bad or unenjoyable.
    • And we don’t care if it’s not cool, among millennials especially, to like ELO. We super don’t care. We know we are not cool.
  • Shoutout to Kelly Groucutt and Bev Bevan for being underrated groove champs on this album.
  • “Tightrope” is really just a Beatles song with classical embellishments. Don’t be like this guy and tell us we’re drunk for thinking there’s a connection.
    • It’s also a great ~welcome to the album song~
    • We are highkey here for all of Grace Spelman’s music nerd playlists, but Welcome to the Album, a playlist comprised solely of excellent opening tracks, is truly fantastic.
    • A friendly reminder that at the end of the day, all of the songs have been written. Originality comes when you incorporate past influences and build upon them to make something new and unique. All good art is stealing, and appropriation is the sincerest form of robbery.
  • Shoutout to the Traveling Wilburys. Again. We love those guys.
  • Telephone songs are so cool in that times change, but sad phone calls have stayed relevant.
  • Shoutout to songs that namecheck influences.
    • Question: What would “Rockaria!” sound like if it got “Genius of Love”-d tho? Or if “Genius of Love” got Jeff Lynne-d?
  • “Yerffej Ennyl.” Bruh.
  • @ people who grew up with great expectations for the 21st century: we are sorry. We wish we had robots and stuff like that, too.
  • Yeethoven (pronounced YAY-to-ven, sorry) is an absolutely brilliant orchestral mash-up project by the Young Music Foundation that saw their debut orchestra performing Beethoven interspersed with tracks from Kanye West’s Yeezus. Trust us, it’s fascinating to hear the similarities and see how classical music is very much still relevant in modern music today.
    • It was such a banger that they did it again with songs from The Life of Pablo and it slammed.
    • (Carrie hardcore stans for appreciating Kanye West as an extremely talented producer and  musician, if you’re new here.)
  • Here’s more about how the band used a Moog in a really awesome, early-adaptive way.
  • This video of James Jamerson basslines, animated, from our fave millennial funk torchbearers Vulfpeck is DOPE.
  • SOIP = summer of infinite possibilities. Any song that evokes a feeling of infinite, electric, so-young-and-alive feelings — no matter your age — is a SOIP song.
    • Shoutout to Fanny, again, for those slamming backing “higher and higher” vocals!
    • Seriously, someone please make us a mash-up of “Livin’ Thing” and “Love Train.” HOW does one not exist already?
    • Will we somehow find a relevant way to shoutout Christine McVie in every podcast episode? Stay tuned to find out.
  • If anyone can find us OG versions of “Above the Clouds” and “Do Ya” by The Move, we would really, really love that.
  • Gonna go ahead and file “Do Ya” under “Songs You’d Have To Have Your Head Buried In The Sand To Have Never Heard Before”
  • We promise we’re going to do an episode on the Wilburys at some point. Swear.
  • End of the night songs are great songs. Check out our Tom Petty and the Heartbreakers episode or our T. Rex episode to hear more what we have to say about them.
  • As always, hit up our master playlist on Spotify for all the songs we mentioned today in one place.

Favorite track(s): So Fine and Livin’ Thing (Carly) | Tightrope and Livin’ Thing (Carrie)
Least favorite track: Rockaria! (Carly) | Shangri-La (Carrie)

 

Album credits:

  • Jeff Lynne – Vocals, lead, rhythm, and slide guitars, percussion, Wurlitzer EP200 electric piano
  • Bev Bevan – Drums, Minimoog drum, percussion, backing vocals
  • Richard Tandy – Wurlitzer EP200 electric piano, Minimoog synthesizer, Micromoog synthesizer, SLM Concert Spectrum, Electra x320 guitar, Hohner clavinet, Yamaha C7 grand piano, Mellotron M400, Maestro phase shifter, percussion, backing vocals, Systech flanger
  • Kelly Groucutt – Vocals, bass guitar, percussion, backing vocals
  • Mik Kaminski – Violin, Maestro echoplex, Univox univibe
  • Hugh McDowell – Cello, Systech phaser, Mu-Tron III, Mu-Tron phasor, Maestro echoplex
  • Melvyn Gale – Cello, Maestro echoplex
  • Mary Thomas – operatic vocals
  • Patti Quatro – uncredited backing vocals
  • Brie Brandt – uncredited backing vocals
  • Addie Lee – uncredited backing vocals

Further watching:
Jeff Lynne’s ELO: Wembley or Bust trailer | 2017 
“Livin’ Thing” live at Glastonbury | 2016 
Saturday Sessions: Jeff Lynne joins CBS This Morning | CBS (2015)  
“Tightrope” live on Zoom Tour | 2001  
“Tightrope” music video | 1976  
“Livin’ Thing” music video | 1976
Classics Album Interviews: Jeff Lynne on ELO’s A New World Record (radio interview) | BBC (August 1990)
Jeff Lynne and George Harrison Play Banjos | Date unknown, but appears to be from a documentary on George Harrison. Reach out if you know which one it is! 

Further reading: 
ELO’s Bev Bevan Talks Rock Hall Induction, Jeff Lynne Rift | Rolling Stone (December 2016)
ELO’s Jeff Lynne: My Life in 15 Songs | Rolling Stone (January 2016)
It’s A Livin’ Thing (Jeff Lynne interview) | The Quietus (June 2015)
ELO’s Jeff Lynne: ‘All those hipsters with beards are copying me!’ | The Guardian (October 2014)
In Defense of ELO | Square Zeros (June 2014)
Jeff Lynne revisits his roots with ELO and classic covers projects | Goldmine Mag (June 2013)
Electric Light Orchestra, “Telephone Line” | American Songwriter (April 2013)

Episode 2.8: AFTER THE GOLD RUSH

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AFTER THE GOLD RUSH – Neil Young – Reprise – 1970

After the March 1970 release of Crosby, Stills, Nash, and Young’s Deja Vu album, each member of the group embarked on their own solo work. Neil Young’s output was After The Gold Rush, an introspective, sometimes controversial, but ultimately hopeful collection of songs. The album presents its themes of heartbreak, loss, environmentalism, racism, and ambivalence without affectation; Young is simply offering points to consider, and it is up to us how we choose absorb and interpret them.

Initially met with mixed reviews by critics, After The Gold Rush grew to become one of Neil Young’s most beloved albums, laying a foundation that numerous artists in the subsequent decades have built upon. In this episode, we discuss the political themes of this album that are still relevant today, dissect Neil Young’s versatility as a songwriter, connect the Laurel Canyon sound to today’s Americana artists, and, bewilderingly, manage to reference DJ Khaled once again.

Listen to After The Gold Rush: iTunes | Spotify | YouTube

Subscribe on iTunes

(ps — while you’re there, please rate and review us in the iTunes store so more people can discover us and we can all be friends who talk about music together!) 

Episode notes and postscript corrections

  • We’ve officially been a podcast for a full calendar year! Here’s a video from the early MTV days that reflects our mood.
  • Hey, sorry not sorry for spamming you with this. We had a ton of fun on Chris Frantz’s Talking Head radio show at WPKN. You will have fun listening (if you have not already). Listen to it in the archive here.
  • We’re doing #MWE! AKA, a Twitter thing where, every day for the month of February, music writers, fans, etc. pick an album they’ve never heard before, listen to it, and tweet a review. Follow us on Twitter to see our diverse picks so far.
  • We turn tf up for dad rock, if you haven’t noticed already.
  • Seriously, though, why do so many songwriters compare the turbulent changes of life to sailing or the sea?
  • We’re going to be dropping references to SO. MANY. SONGS. in this episode, including a bunch of great covers of “After The Gold Rush.” They’re all collected in our master playlist on Spotify for your listening pleasure.
    • Just gonna leave one more shoutout for those Trio harmonies here tho
    • If anyone has any more information about that screenplay Neil was making music for, hit us up.
  • We discussed the Great Graham Nash and Joni Mitchell Breakup of 1970 at length in our Songs For Beginners episode. If you need to catch yourself up, re-listen to it here.
  • Someone please remind Nikki Haley that music has always been political, FFS. (Like, girl. You’re the former governor of South Carolina. You’ve definitely heard “Southern Man” in your lifetime, for starters.)
    • This 👏 song 👏 is 👏 complicated!  👏
    • Unlike Patti Smith and “Rock and Roll N****r,” Neil Young actually admitted it’s problematic, which we appreciate.
    • See our further reading notes below for a must-read story about how Merry Clayton — who did a fire cover of this song — ended up grudgingly doing backing vocals on Lynyrd Skynyrd’s “Sweet Home Alabama.” It is essential.
    • There are a lot of different viewpoints to be had when it comes to this song. We’d love to hear your thoughts on it. Get at us on email or slide into our DMs on Facebook or on Twitter if you’ve got opinions you’d like to share.
    • At the end of the day, culture is cyclical, as we’ve said many times before, but not always in a good way. It’s embarrassing that this song is still relevant nearly 50 years later.
  • If you’re new here: we stan sequencing. Get used to it.
  • See our further reading links below for more about Jack Nitzsche’s storied musical history.
  • RIP Webster Hall. We won’t speak of what’s to become of you, but it cannot be good.
  • See our further reading links below to read Rolling Stone’s early review of After The Gold Rush that will make you scratch your head and say “…wut?”
  • Carly has a special classification of songs that are “breakfasts of songs.” Ask her about it.
  • A huge slew of musicians past and present have been influenced by Neil Young. Check out our playlist for a bunch of references (including ones that will definitely make you think “Wait, is Ryan Adams… cosplaying… as Neil Young?”)
  • Neil is still going strong. He just starred in a weirdo Western movie directed by his girlfriend Daryl Hannah and recently put his enormous archive online. So, um, yeah.
  • First time here? Miss an episode? Just feel like listening to something again? Visit our episode archive to dig through all the albums we’ve covered so far.
  • Oh, and here’s a bonus outtake from the episode as a special birthday gift for you all. You are so welcome.

Favorite track: Don’t Let It Bring You Down (Carly) | Southern Man (Carrie)
Least favorite track(s): After The Gold Rush (Carly) | Birds (Carrie)

Album credits

  • Neil Young — guitar, piano, harmonica, vibes, lead vocals
  • Danny Whitten — guitar, vocals
  • Nils Lofgren — guitar, piano, vocals
  • Jack Nitzsche — piano
  • Billy Talbont — bass
  • Greg Reeves — bass
  • Ralph Molina — drums, vocals
  • Stephen Stills — vocals
  • Bill Petrson — flugelhorn

Further watching:
Neil Young: Don’t Be Denied (Fantastic BBC/PBS American Masters documentary) | 2009
Neil Young: Heart of Gold | 2006
VH1 Legends: Neil Young | 2000
“After The Gold Rush” live at Farm Aid | 1998  
Neil Young goes record shopping and finds bootleg Neil Young albums | 1972 (?)
“Southern Man” live with CSNY at the Fillmore East | 1970

Further Reading:
Neil Young: Heart of Gold | 2015
Special Deluxe: A Memoir of Life and Cars (Neil Young’s latest memoir) | 2014
Waging Heavy Peace (Neil’s first memoir) | 2012

The Story Behind The Song: “After The Gold Rush” | Team Rock (November 2016)
Watching Neil Young Movies With the AARP | Pitchfork (March 2016)  
Retrospective Reviews: Neil Young After The Gold Rush | Noisey (October 2014)
Merry Clayton on 20 Feet From Stardon, Ray Charles, Lynyrd Skynyrd, and “Gimme Shelter” | AV Club (August 2013)
After The Gold Rush: 500 Greatest Albums of All Time | Rolling Stone (May 2012)  
After The Gold Rush rerelease review | Pitchfork (December 2009)  
In Memoriam: Jack Nitzsche | The Guardian (August 2000)
After The Gold Rush review | Rolling Stone (October 1970)

Episode 2.4: TANGO IN THE NIGHT

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TANGO IN THE NIGHT – Fleetwood Mac – Warner Brothers – 1987

The year is 1986. Fleetwood Mac had not released a new album in four years. And, with the radio favoring younger and more heavily pop hits like “How Will I Know” and “Papa Don’t Preach,” they were considered middle-aged and washed up, like most of their late-60s and ‘70s breezy, FM rock peers, barely a blip on anyone’s radar.

The band members themselves were fractured. Stevie Nicks checked into rehab to deal with a cocaine addiction that, over the course of the past decade, had created a hole in her nose — by the end of the year, she would be in the early stages of a long addiction to Klonopin, the drug meant to keep her off the coke. Drummer Mick Fleetwood, who had declared bankruptcy two years earlier, was in the midst of an outrageously expensive cocaine addiction, while bassist John McVie was drinking heavily, and keyboardist Christine McVie was celebrating her new marriage. Guitarist Lindsey Buckingham was holed up in his home studio, obsessively at work on his next solo album.

The end result would not be Buckingham’s third solo album, but Fleetwood Mac’s fourteenth. A shimmering, painstakingly crafted labor of love produced by Buckingham over the course of 18 months, 1987’s Tango in the Night would become a sort of sister album to the impossible-to-top Rumours: a monolithic story of a band in the throes of self-destruction. Only this time, they weren’t all stubbornly persevering together; they were being held together, puppeted, even, by Buckingham as he coaxed an album from a band that, mostly, just wasn’t there. It would be the last studio album the iconic quintet ever recorded together.

In this episode, we discuss the qualities each distinct songwriter brings to the collective group, how Buckingham’s experimental production style helped make Tango so reflective of its time, and why we will never tire of this crazy family and all of their drama.   

Listen to Tango in the Night: iTunes | Spotify | YouTube

Subscribe on iTunes

(ps — while you’re there, please rate and review us in the iTunes store so more people can discover us and we can all be friends who talk about music together!) 

Episode notes and postscript corrections

  • In case you didn’t have enough family drama this holiday, here’s an episode about your favorite lives-for-the-drama rock and roll band!
  • We don’t have 300 hours for our podcast, and the history of Fleetwood Mac, with all its various lineup changes and love affairs and stuff, is so long and complicated that it might take that long to explain. If you want to learn more history, there’s a really cool website called Google dot com.
  • Obviously, we recommend you revisit our very first episode on Buckingham Nicks, the album Stevie Nicks and Lindsey Buckingham made two years prior to joining Fleetwood Mac. It would be quite useful for your understanding of this album.
  • Speaking of Tusk, here’s the very earliest version of ‘77 Music Club, the first and only episode of Drunk Album Reviews.” You can probably guess why we didn’t continue it.
  • Poor Lindsey Buckingham. He’s always tryna make solo albums and then they end up getting incorporated into Fleetwood Mac projects.
    • In addition to Tango, see: The Dance, Say You Will, and Extended Play.
  • Banger? Bop? Wut? In case you’re new here, or in case you’ve forgotten, we have a glossary that will fill you in on pretty much any millennial slang (or our own made up slang, let’s be real) we use in the episode.
  • Lindsey Buckingham is a crazy mad scientist studio rat who loves to play with his toys and control almost everything about the production of anything he touches. See our further reading links below for more.
  • Discuss: Do the “oohs” and “aahs” that are really Lindsey pretending to be Lindsey and Stevie convince you that it is Lindsey and Stevie, or do you think it just sounds like Lindsey with a weirdly tuned voice?
  • Okay, honestly, you HAVE to watch this video of “Big Love” done acoustically. Warning: Your head might actually explode.
    • Still thinking “How the actual eff does one man do all that?” Watch this short interview where he explains his playing style and does “Big Love” ever so slightly slower so you can really see what’s happening. IT IS INSANE.
  • Sorry not sorry, but we’ve gotta say it. This album is some of Stevie Nicks’s absolute worst when it comes to both singing and songwriting. We just have to be honest and objective here.
    • (Street Angel is also very, very bad, but we pretend it doesn’t exist, so we won’t talk about it any further here.)
  • “Everywhere” is an undeniable bop that will play about nine out of the ten times you are ever in a CVS anywhere. This is a fact.
    • Check out our master playlist on Spotify to hear examples of how “Everywhere” really does harken back to Fleetwood Mac’s early blues-rock days, if you think about it.
  • Carol Ann Harris = “Caroline.” She wrote a book about her experience with Lindsey Buckingham and Fleetwood Mac. We don’t recommend it. It’s been proven to be full of fallacies many times over. Ugh.
    • But lolol Lindsey, YOU DIDN’T EVEN TRY.
  • Go ahead and file “Little Lies” under “Songs You Always Hear In Drug Stores,” too.
  • Okay, hear Carrie out. “Family Man” is Lindsey Buckingham trying so hard to be Talking Heads.
    • Funky bass-driven melody? Check. Hella danceable drum beat? Check. Basic lyrics about the mundanity of everyday life? Check. I mean, come on.
    • Granted, Lindsey is influenced by a multitude of sources (see: the Spanish-style guitar solos sprinkled throughout, the Beach Boys-esque harmonies), but his affinity for punk and new wave, and for boundary-pushing, has never been a secret.
      • This excerpt from a 1980 Rolling Stone cover story on Fleetwood Mac — in which Lindsey talks about his love of Fear of Music and John McVie is shocked to hear that there’s a married couple in Talking Heads — will never not be funny.
      • And here’s a 1987 review of Tango in Spin where the critic compares it to Talking Heads ‘77. So.
    • Again, hit up our Spotify playlist to hear some similar grooves back to back. Musical walks are fun.
    • Agree? Disagree? Drop us a line. We love to nerd out about this stuff with others.
  • Stevie Nicks self-references and recycles lines in multiple songs all the time and we have SO. MANY. QUESTIONS, but it seems like there are so few answers. So, if you wanna get all English class analytical with us about it, you know where to find us.
  • See our further reading links below for more about how Lindsey salvaged “When I See You Again” and other really terrible Stevie takes in an effort to get something good from her on the album instead of nothing.
  • Lindsey’s shoes were filled by Billy Burnette and Rick Vito on the Tango in the Night tour. There’s a full video of it that we’ll link to in our further watching section. It’s… interesting.
  • Stevie and Christine would later leave the band in the early ‘90s, although the classic, 5-piece Fleetwood Mac lineup reunited in 1997 for a TV special, tour, and live album.
    • Christine McVie left after this tour, due to severe anxiety, and didn’t rejoin the group until 2014.
  • Since 1987, Fleetwood Mac has produced only one new album of original material (2004’s Say You Will) and one four-track EP (2013’s Extended Play). Though Lindsey and Christine released an album as a duo this spring (it’s good, we recommend it), and the band continues to tour, it seems highly unlikely that we will ever see a final album from Fleetwood Mac, and we think, truthfully, that that is quite sad and disappointing.

Album credits:
Lindsey Buckingham — Guitars, keyboards, Fairlight CMI, lap harp, percussion and drum programming, vocals
Christine McVie — Keyboards, synthesizers, vocals
Mick Fleetwood — Drums, percussion
John McVie — Bass guitar
Stevie Nicks — Vocals

Favorite track(s): “Big Love” (Carly) | “Everywhere” and “Family Man” (Carrie)
Least favorite track(s): “When I See You Again (Carly) | “When I See You Again” (Carrie)

Further Watching:
Destiny Rules (truly the best Fleetwood Mac doc out there) | 2004
“Big Love” (acoustic, The Dance) | 1997
“Everywhere” (acoustic, The Dance) | 1997
“Seven Wonders” music video | 1987
Tango in the Night full concert | 1987
Lindsey Buckingham and Stevie Nicks Tango interview | 1987

Further Reading:
The real story behind Fleetwood Mac’s Tango in the Night (interview with co-producer Richard Dashut and engineer Greg Droman) | Salon (April 2017)
Tango in the Night re-release review | Pitchfork (March 2017) (ed note: this is one of Carrie’s favorite pieces ever written for Pitchfork and/or on Fleetwood Mac, so it comes highly recommended.)
Stevie Nicks: Recording Tango in my ex-boyfriend’s bedroom was ‘extremely strange’ | Miami Herald (March 2017)
Fleetwood Mac: ‘Everybody was pretty weirded out’ (scroll midway to get to Tango stuff) | Uncut (January 2013)  
Lindsey Buckingham Leaves Fleetwood Mac | Rolling Stone (September 1987)
Tango in the Night review | Rolling Stone (May 1987)
Lindsey Buckingham, Lonely Guy | Rolling Stone (October 1984)

Episode 2.3: MOONDANCE

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MOONDANCE – Van Morrison – Warner Brothers – 1970

Sequestered away in Woodstock, New York, at the end of the 1960s, Northern Irish singer-songwriter Van Morrison was on a quest. His previous album, Astral Weeks, was floundering commercially, and no one knew quite what to make of this Celtic troubadour who sang of mysticism and “gardens all misty wet with rain.”

Out of this artistic sabbatical came 1970’s Moondance, an album that drew influences from blues, pop, and jazz to create a through line of music that was at once inherently accessible, and, as the ensuing decades would prove, universally relatable. Within these melodies, Morrison used imagery of his trademark gypsies and mists and dreams and stories, while placing them within frames of groove-able basslines, wistful guitars, and even trendy (for the period) flutes. This amalgamation of influences proved to be just the right combination that Morrison needed to cement himself within the lexicon of great singer-songwriters, and why Moondance has since gone on to become one of the best-loved albums ever recorded.

Listen to Moondance: iTunes | Spotify | YouTube

Subscribe on iTunes

(ps — while you’re there, please rate and review us in the iTunes store so more people can discover us and we can all be friends who talk about music together!) 

Episode notes and postscript corrections

  • We spared you a bunch of background info about Van Morrison’s pre-solo career and what happened when Astral Weeks was released, but if you want to learn more, there’s this cool thing called Google that will tell you all about it.
  • We love to call out when a certain album feels like a certain season to us, and although we often disagree, we both definitely think Moondance is a perfect fall album. Even better are albums you can identify as “rainy day albums” (fall rainy days are bonus), which this one most definitely is. (Sidenote, thank god we’re done with hotumn.)
    • Disagree? Agree? Hit us up and tell us your thoughts.
  • See our further reading notes below for more about that childhood memory that informed “And It Stoned Me.”
    • For a refresher on our feelings on saxophones in rock, revisit our Hall & Oates episode.
    • Here’s that gorgeous John Mayer cover we mentioned. You’re welcome.
  • We’ve discussed our distaste for the flute before. IT RARELY WORKS.
    • Benmont Tench agrees with us. Here’s his opinion on the “Moondance” flute.
    • So, yeah. If someone could please get us and Benmont Tench a mix of “Moondance” done without the flute, we’d love you forever.
  • Check out our master playlist on Spotify to hear the similarities between “Crazy Love,” “Waiting on the World to Change,” and “People Get Ready” side by side.
  • Shoutout to John Klingberg, who is a true MVP on this album.
    • See our further watching links below for the can’t-be-missed performance of “Caravan” from The Band’s iconic 1978 concert film The Last Waltz
    • “Caravan” clocked in at 181 on Pitchfork’s 200 Best Songs of the 1970s list. We’ve discussed our displeasure with this list countless times throughout our episodes, but add the fact that only one Van Morrison song makes an appearance on it to the list of reasons why we think it needs an overhaul.
    • Fun fact: Nick Hornby wants the version from The Last Waltz played at his funeral. Here’s some great writing on how great this version is.
  • To really see how Morrison’s use of homophones can change the meaning of “Into the Mystic,” take a peek at the Genius lyrics.
  • Also check out our further watching links for the live cover version of “Into The Mystic” by Zac Brown Band and Clare Bowen.
  • For a refresher on how we each feel about non-sequitur, surprise songs in albums, revisit our discussion on “Before They Make Me Run” from the Rolling Stones’ Some Girls.
  • Correction: Carly does, in fact, know that Northern Ireland is part of the UK. Our bad for the slip-up.
  • Shoutout to that transatlantic music trade. We dig how cool it is that so many iconic UK/Irish bands and artists have been able to take old American blues and turn it into something of their own.
    • See our further watching links for this cool documentary where Van Morrison talks about and plays with John Lee Hooker, as well as that Fillmore East show.
    • And if anyone can get us more info about John Klingberg, that would be super cool. Thanks!
  • Okay, special exception to the flute thing with “Everyone.” It works there.
  • Again, hit up our Spotify playlist to hear all the side-by-side comparisons between modern artists like John Mayer, Ryan Adams, and Father John Misty and Van Morrison.

 

Album credits:
Van Morrison — Rhythm guitar, vocals, tambourine
Jack Schrorer — Alto and soprano sax
Collin Tillton — Tenor sax and flute
Jeff Labes — Piano, organ, and clavinette
John Platania — Lead and rhythm guitars
John Klingberg — Bass guitar
Garry Malabar — Drums and vibraphone
Guy Masson — Congo drum
Emily Houston — Backing vocals
Judy Clay — Backing vocals
Jackie Verdell — Backing vocals


Favorite track(s): “Into the Mystic” (Carly) | “Caravan” and “And It Stoned Me” (Carrie)
Least favorite track: “Brand New Day” (Carly) | “Come Running” (Carrie)

Further watching:
John Mayer – “And It Stoned Me” | 2014  
Zac Brown Band ft. Clare Bowen – “Free >> Into the Mystic” | 2013
Van Morrison: Another Glorious Decade | 2003
Van Morrison Cue The Music TV documentary | 1991
Van Morrison and The Band – “Caravan” | The Last Waltz (1978)
Van Morrison live at Fillmore East | 1970

Further reading:
The Words and Music of Van Morrison | 2009
Celtic Crossroads: The Art of Van Morrison | 2003   

Moondance re-release review | The Au Review (October 2013) 
500 Greatest Albums of All Time – Moondance | Rolling Stone (May 2012)
Van Morrison: The Poet | Rolling Stone (November 1978)
Moondance review | Rolling Stone (March 1970)

 

Episode 2.1: SOME GIRLS

somegirls

SOME GIRLS – The Rolling Stones – Rolling Stones Records – 1978

Disco. Punk. Blues. Rock. Country. Touching on each of these unique, diverse genres on one album looks like a recipe for disaster on paper. And yet, in the tight span of 40 minutes, that combination was the magic kick that the Rolling Stones needed to revive their careers.

Things were not looking good for the Stones by the late-70s. After getting carried away on their own popularity following a string of hit albums — Beggars Banquet, Let It Bleed, Sticky Fingers, and Exile on Main St. — they released a string of subpar ones. Drugs were becoming an increasing problem, and a heroin bust left Keith Richards facing serious legal issues and the threat of an extended jail sentence. Their early peers, bands like the Beatles, the Animals, and Led Zeppelin, had either broken up long ago or were on the fade. And now in their early 30s, they were considered too old to be trusted as rock stars anymore, quickly losing relevancy to the young punks and disco acts on the rise.

Suffice it to say, their next album had the power to make or break them. An experimentation with what was new, while still remaining true to the Stones’ established rock aesthetic, 1978’s Some Girls was a critical and commercial success that breathed new life into the band.

In this episode, we examine the influences of emerging musical movements like disco and punk on the Stones, how a decidedly British band made an album that captured the New York spirit, and why it stands up over time as a testament to the Rolling Stones’ continued legacy as one of the greatest rock and roll bands of all time.

This episode is in memory of all the people who were killed and injured in Las Vegas this week, and to the lasting influence of Tom Petty. May it remind you why we all love and celebrate music in the first place.

Listen to Some Girls: iTunes | Spotify | YouTube

Subscribe on iTunes

(ps — while you’re there, please rate and review us in the iTunes store so more people can discover us and we can all be friends who talk about music together!) 

Episode notes and postscript corrections

  • Alright, the Rolling Stones had a lonnnnng history before they even got around to Some Girls, so we’ll spare you all our CliffsNotes and just direct you to Wikipedia to spiral from there.
  • We’ve discussed this before: the mid- to late-70s were an incredibly exciting time in music, particularly in New York. It’s no wonder the Stones wanted to play catch-up and pull in punk and disco influences to stay current.
    • We can hear a SLEW of influences on this album. Bop over to our master playlist on Spotify to hear them all.
  • LOL at the Stones being considered too old in the ‘70s.
  • Because of Keith’s legal issues stemming from a bust for heroin possession, Mick ends up being a driving creative force on Some Girls. For more about that, peep our further reading section below.
  • Okay honestly, if you don’t bop to “Miss You,” your brain might be broken.
    • Shoutout to Billy Preston for teaching Mick four on the floor.
    • Shoutout to Charlie Watts for that kick drum and being an all-around great drummer.
      • Watch this video. “My thing, whenever I play, is to make it a dance sound. It doesn’t matter whether it’s blues or whatever. It should swing and bounce.” Helllll yeahhh, Charlie.
    • Debate: Do you think the disco-influence in “Miss You” was the product of experimentation and jamming, or a pointedly calculated track?
  • Current artists are always going to be influenced by what came before, but we seem to be in the midst of a ‘70s and early ‘80s renaissance with bands like Vulfpeck, TOPS, etc.
    • That sentiment about all music being cyclical because there are only so many chords that we couldn’t source? It came from Tom Petty. He’s invaded our subconscious to the point where we could recall this interview he gave about 12 years ago, in which he says he’s found himself writing a song and “then [realizing] it’s somebody else’s song. […] But there’s only so many words and so many notes, so sometimes you do cross somebody else’s territory.”
  • Hi, we may be technically nerdy but you will never find us be superior purist snobs on this show.
  • Mick Jagger is a slut. There. We said it.
  • Shoutout to that pedal steel guitar for creeping into some punkier tracks.
  • No, really, Mick has no idea why he wrote “When The Whip Comes Down.”
  • Hahahahahahahaha “Some Girls” would never be made today hahahahahaha
  • No, seriously, can anyone provide any evidence that Mick did research at CBGB because “Lies” and “Respectable” sure sound like he did.
  • Someone compiled a list of all the times Keef sings lead on Stones’ songs, so there’s that.
    • TBH, “Before They Make Me Run” has strains of Mudcrutch in it, though, so we can’t complain too much.
    • Keef has lived an extraordinarily messy life. You should read about it in his memoir, aptly titled Life.
    • (Keef will outlive us all.)
  • “Beast of Burden” is easily one of the top 10 sexiest songs ever do not fight us on this.
  • From the Clash to Lou Reed to Joe Jackson — check out all the influences we hear in “Shattered” in our ever-evolving master playlist. (Yes, we plugged it again.)
    • PSA: Do not complain about New York if you do not live in New York. (We’re looking at you, Mick.)
  • What’s there to say about the Rolling Stones’ legacy? They’ve been around forever and are seemingly immortal, having influenced countless of musicians and fans for more than 50 years.

Album credits:
Mick Jagger — lead and backing vocals, electric guitar, piano, percussion
Keith Richards — electric guitar, backing vocals, acoustic guitar, bass guitar, piano, lead vocals
Bill Wyman — bass guitar, synthesizer
Charlie Watts — drums
Ronnie Wood — electric guitar, backing vocals, pedal steel, acoustic guitar, bass guitar, bass drum
Sugar Blue — harmonica
Ian McLagan — electric piano, organ
Mel Collins — saxophone
Simone Kirke — congas
Ted Jensen — mastering

Favorite track(s): Miss You (Carly) | Miss You (Carrie)
Least favorite track: Far Away Eyes (Carly) | Far Away Eyes and Before They Make Me Run (Carrie)

Further watching: 
Shine a Light (Martin Scorsese documentary on the Rolling Stones) | 2008
The Rolling Stones: Just for the Record – The ’70s | 2002
Keith Richards: Life (BBC documentary) | 2010
Some Girls tour interview | 1978

Further reading:
Rolling Stones’ ‘Some Girls’ (from the 33 1/3 book series) | 2011
Life (Keith Richards’ memoir) | 2010

How the Rolling Stones went disco: Inside the making of “Miss You” | Salon (August 2017)
How the Rolling Stones Bounced Back With ‘Some Girls’ | Ultimate Classic Rock (June 2015)
The Rolling Stone Interview: Jagger Remembers | Rolling Stone (December 1995)
Mick Jagger: Jumpin’ Jack Flash at 34 | Rolling Stone (June 1978)
Some Girls review | Rolling Stone (June 1978)