Sly Stone, I can safely say, is the funkiest man ever born in Texas. Ray Davies, the mastermind behind the Kinks, was born of a more dainty British cloth. Don’t get me wrong, Ray’s rebellious awesomeness cannot be questioned, but there is no doubt that he is crumpet eating, village green strolling, nostalgia reflecting English gentleman. What was so great about the rock revolution of the 1960s was how world’s so seemingly divergent, could merge through music, in thrillingly unpredictable ways. The song below is such an instance. This is a fantastic, funky, and fresh studio outtake of Sly tackling Ray’s garage rock classic, “You Really Got Me.” Words to describe what awaits you behind the play button are useless in the face of Sly’s sleek and sexy guitar playing. So, do your soul a favor and groove to this.
The Black Keys are guitarist Dan Auerbach and drummer Patrick Carney. Together they have forged a highly successful blues rock revivalist band that are the darlings of the upper tiers of the indie rock world. I’ve always like them, but have not extensively combed through their catalog. Perhaps I’ve finally found a reason to. The reason comes in the form of their cover of the Beatles “She Said, She Said,” from their debut album The Big Come Up. The original Beatles song, from Revolver, is about one of John’s most infamous LSD trips. In 1966, he was tripping in LA with the rest of the Beatles, the Byrds, and Peter Fonda. Fonda, tweaking out, began to obsessively tell a story about how he nearly died as a boy, and couldn’t stop saying, “I know what its like to be dead.” John, understandably freaked out by Fonda’s dark ramblings, promptly wrote a song, and changed Fonda into a girl to fit the Beatle songwriting mold. Though, by 1966, the Beatle mold now included feedback, acid drenched distorted guitars, and glorious swirling psychedelic harmonies. The song was a progressive leap forward for the Beatles, and for rock and roll as a whole. 36 years later, the Black Keys took that song, a song that was still in mid leap mind you, and gave it a real throwback treatment, turning it into a hip 60s blues club rocker. I love the Black Keys version, as it gives the song a grungy and gritty makeover and reveals the essence of the song’s fantastic pop melody. Because it is so fantastic, I’m giving you two versions, the unofficial music video, and a cool live performance. Check em out.
I had a fun Labor Day weekend. I crossed the Williamsburg Bridge on foot for the first time, explored Greenpoint, went to a great BBQ in Sheepshead Bay, got free tickets to the Museum of Natural History, hung out in Chinatown eating at the legendary Wo-Hop, and had a Belgium Chocolate milkshake at Haagen Dazs. Basically, I was all over New York City, taking in the city I love before I depart for South Korea and Australia next month. One great thing about this city is its history of rock and roll music, and no band in recent memory has blazed the torch for New York cool more than the Strokes. At once both declared the saviors of rock and roll, and everything wrong with it, the Strokes have persisted for ten years now. Coming out right after 9/11, the Strokes rock harder than ever, at least they do live, and it all started with their debut single, “Last Nite.” When this single came out, I was 17 years old, starving for a new rock band to break into the pop scene and change the awful commercial images that dominated the depleted American cultural landscape at the time. A lot of people would argue that the Strokes were depleted themselves, merely presenting a retread of the early 80s post punk rock movement, but I didn’t subscribe to that theory. I saw them for what they were, rock stars writing catchy, exciting, and tasteful songs. They were cool, and they still are. Stroke on Strokes, and remember to vote me as CBS’s Best Local NYC Blogger by clicking here!
For part 82 of my youtube countdown, you’re in danger of running “Out of Time” with the Rolling Stones incredible 1966 single. First released on the UK version of Aftermath, the song is a fabulous example of 60s Brit pop, as well as being another song in a string of misogynistic themed lyrical exercises the Stones had going at the time. (For the record, just pointing the misogyny out, not celebrating it.) The first version of the song had a slow experimental garage rock feel, featuring Brian Jones on the marimba, (close to a xylophone.) Version 2 has a more sweeping Beatle-esque arrangement, with thicker background vocals, a faster tempo, and a dramatic string arrangement. Version 2 is my favorite, mainly for the killer Motown vocal chorus where Mick’s voice mixes sloppily (yet sublimely) with the female singers. It’s a hook that makes my knees buckle. I’ve also included the Mick Jagger produced cover version done by obscure British pop singer Chris Farlowe. His backing version is identical to the Stone’s second mix, and Mick is singing backup on that one too. Farlowe’s version went to #1, but I’m including it because this guy is so British looking. He’s like a cross between Austin Powers and Prince Charles. It’s really funny. So, here you go, all three versions of one of my favorite Rolling Stones songs of all time, “Out of Time.”
Part 70 of my youtube countdown continues with more Kinks. The Kinks are the most underrated group of gods from the 60s British Invasion era, and this song, “Waterloo Sunset,” is their overrated masterpiece. First of all, let me praise it. From their LP Something Else, “Waterloo Sunset” is a work of genius. It’s just a simply gorgeous rock ballad with brilliant chords and beautiful background vocals. So, I just called it genius, how could it be overrated? Well, its not the Kinks fault. For whatever reason, rock critics have painted this song as “the most beautiful song of the rock and roll era” according to allmusic journalist Stephen Thomas Erlewine, and Robert Christgau called it “the most beautiful song in the English language.” Ummm…no. It’s a fantastic song, but I don’t even think its the best song the Kinks ever made. I’m not gonna get into which songs are better, because its a matter of subjectivity, but its too easy to knock this song from its pedestal of lofty praise. Anyway, give this live performance a play, and let me know what you think. Is it the prettiest song of all time, or is it just an ordinary rock classic, you decide.
Welcome to part 57 of my never ending youtube countdown. Today, I present another one of England’s best, this time, The Kinks! I start off this blog with an understatement, the Kinks are an interesting group. Led by lead singer/songwriter and all around musical genius, Ray Davies, the Kinks are the all time kings of garage rock in my opinion. The rest of the band, which originally featured Mick Avory on drums (who nearly killed lead guitarist Dave Davies (Ray’s 17 year old brother) by knocking him unconscious with his drum set in an on stage brawl), and Pete Quaife on bass. Also, Ray and Dave were constant bickering brothers who fought constantly for decades. Yea…the Kinks had a slew of problems which led to a crazy ban from US touring at the height of the British Invasion and their commerical breakthrough success with “You Really Got Me.” This ban cost the Kinks a potential army of fans, tons of money, and a greater spotlight that the likes of the Beatles, Rolling Stones, and the Who all happily lapped up. For the rest of their existence, though still managing to churn out hits because of Ray’s sheer brilliance, and still influencing the very bands listed above enormously, the Kinks never got their proper recognition and were forced to carry on throughout the years in a Spinal Tap like state, embarrassingly embracing heavy metal schlock and stage craft by the 1980s in an attempt to stay relevant. It’s one of the biggest crimes in rock and roll history because the Kinks were that good. Ray Davies basically invented garage rock with “You Really Got Me,” a song which the Who admitted to copying for their breakout single, “Can’t Explain.” Ray’s songwriting was also heavily influential on the likes of John Lennon, who considered “Wonderboy” one of his favorite songs ever, and used it years later as the inspiration for “Beautiful Boy.” Not only that, he turned into one of rock and rolls greatest lyricists and melody makers, basically as good the Beatles, sometimes even better considering he had to put the whole band on his back and never had a partner to share the load with. The most inspiring thing about Ray is the legacy of gorgeous, honest, and uncompromising music he left behind (well at least through the first half of the 70s,) and “You Really Got Me,” is his undeniable greatest splash hit. So here it is, rev it up, and toast one to Ray folks, one of the greatest ever.
For part 50 of my youtube countdown, we dissect the many ways in which life is a bitch. For instance, I was laid off my job yesterday. Yes, loyal readers, I am now but one of the unemployed masses, set to be scrambling for an unemployment check, desperately sending out resumes, left wondering what it all means as I eat a bowl of corn flakes for dinner. Luckily, the Beatles, who never had too many employment problems, nonetheless made a beautiful anthem to the “aimless young man set adrift” demographic in the guise of “You Never Give Me Your Money.” This song, from Abbey Road, set off the famous song cycle that typifies side 2 of the legendary record. The video I present is nothing fancy, just a cool compilation of Beatle clips set to the tune. The video is a little dratty, but the song is top notch of course. I think these are Paul McCartney’s most unpretentious lyrics, and a reflection of the amazing musical craftsmanship he was capable of in this era. I’m putting this up for me, and everyone else seeking a new job, and a better life. Enjoy.
I was an 18 year old senior in high school when The Strokes burst onto the scene in the fall of 2001. I immediately liked them, for all the cliched reasons. I loved their style. 5 skinny guys in cool vintage clothes wearing converse. When you’re 18 years old in 2001, you pay attention to the trends on MTV, and for what seemed like the previous formative ten years of my childhood, every musician on TV was either a snotty group of California skater punks, a slicked back collection of glittering boy band douches, or macho jewel encrusted rappers. Even all the nerdier groups were obnoxious and “in your face.” No one was standing up for something truly cool, that is, until the likes of The Strokes and The White Stripes came along. At last, here were young people who understood what made rock and roll fun, and who were not massive sell outs in any obvious away. But of course, overnight, a massive backlash was unleashed. The Strokes became objects of ridicule and scorn. And it was easy to see why. Here’s a list of the top 3…
Part 7 of my favorite youtube videos countdown continues with The Atlantics! Hailing from Australia, The Atlantics started out as Sydney’s answer to the Beach Boys…except, they didn’t sing. They were a surf rock instrumental band who churned out the local hits “Bombora.” Looking to change their image a bit, they collaborated with lead singer Johnny Rebb in the mid 60s and produced “Come On” in 1967. Written by drummer Peter Hood, “Come On” is considered one of the all-time long lost classics of garage punk rock. Its a brash, highly charged electric party highlighted by a killer chorus and a bass line accented with Eastern mysticism. This video is funny because we get to see Johnny Rebb’s gorgeous toupee, and moves strait out of Elaine Benes’s school of dance. Enjoy!
