Ditkaless Wonders
Footballguy
Accidentally like a Martyr is a great tune. The others, some damn good stuff.
Not as well appointed, but i rented a 3-story,13-room sea captain's house in my home town (around the same time Zevon was recording his 1st record) and dedicated it to rock & roll. Anybody connected with music and didn't become a nuisance could hang, sleep, practice, play, party, zonk, screw on the 2 public floors. The second floor had an actual ballroom which became famous around the North Shore as the Christmas Room because i didnt even know how to furnish a single room at the time so i was running out of ideas and saw an after-Xmas decoration sale and bought a half-dozen lightup Santas and reindeers and strings of lights and kept em up in the ballroom year-round. The late Sib Hashian, who lived just down the street, drummed there many times; hosted a big April Fools Day party which i had raided by Salem PD (the chief's son was a friend) as my prank; we responded to legit musicians losing so many gigs when every club was turning into either a disco or punk pit by writing a punk set in a weekend, calling ourselves Mange and actually got years of gigs (under a different name) and recorded an ep after i pulled some strings to get them a working audition @ Boston's famous Rat club; seven of us got the clap from the same girl, separately, in one weekend, etc etc etc. The whole op was managed by Crazy Carol, a retired call girl who kept the good vibes real and could head off trouble better than any bouncer i ever knew (tho the constant presence of Big Wayne, my asst & bodyguard since i was 8yo, helped) and i never seen an urban practice house with better flow.Whiskey, weed, and Warren Zevon.... It's the little things.
I imagine wikkid at some point lived in a house like this one.
Great album choice Tim.
Knew wikkid would have some sort of anecdote for this album. Too bad you missed Los Angeles, but that's what makes you tick, even if it is a lament. We all have things we see that we don't like, and we do the best with them to our limited capabilities of understanding. Los Angeles, well, I can see where you wouldn't like it. Me neither, probably, back then.Not as well appointed, but i rented a 3-story,13-room sea captain's house in my home town (around the same time Zevon was recording his 1st record) and dedicated it to rock & roll. Anybody connected with music and didn't become a nuisance could hang, sleep, practice, play, party, zonk, screw on the 2 public floors. The second floor had an actual ballroom which became famous around the North Shore as the Christmas Room because i didnt even know how to furnish a single room at the time so i was running out of ideas and saw an after-Xmas decoration sale and bought a half-dozen lightup Santas and reindeers and strings of lights and kept em up in the ballroom year-round. The late Sib Hashian, who lived just down the street, drummed there many times; hosted a big April Fools Day party which i had raided by Salem PD (the chief's son was a friend) as my prank; we responded to legit musicians losing so many gigs when every club was turning into either a disco or punk pit by writing a punk set in a weekend, calling ourselves Mange and actually got years of gigs (under a different name) and recorded an ep after i pulled some strings to get them a working audition @ Boston's famous Rat club; seven of us got the clap from the same girl, separately, in one weekend, etc etc etc. The whole op was managed by Crazy Carol, a retired call girl who kept the good vibes real and could head off trouble better than any bouncer i ever knew (tho the constant presence of Big Wayne, my asst & bodyguard since i was 8yo, helped) and i never seen an urban practice house with better flow.
Zevon was a guy i wish i could say i knew (a lot of the big people i knew shonuff knew him, but my youthful hate for LA sealed me off from a lot of dramatic eps i could have had out there) but Excitable Boy was one of maybe a half-dozen albums that just stayed on my turntable for wks after i bought it. Listened to it over & over, would switch away if only for variety's sake and go "NAAAAH!" and put it right back on. Biggest compliment i can give to a record, i guess. Always thought Zevon would be a good name for a boy.
Stephen Sondheim, perhaps the greatest songwriter of the age, once said the major requirement of a song in a musical is that the world must be a different place by the end of it. Zevon's songs, like em or not, always meet that criteria. It's art and craft, not like that accidental stuff you listen to......Like Sondheim, there's a lot of Zevon's stuff i don't like because he always had the talent & turmoil & courage to miss the mark, but the ones that stick are mastery.What a weird amount of respect that Zevon gets among his peers. I'm a dilettante when it comes to him, so maybe I should check it out on some nice audio gear and just enjoy. I dunno. Everybody seems to love his wordplay, his songs. I guess I'm just not a seven-minute freakout kind of guy, but I want to give a listen so I can hear what other people are hearing in the music that he writes.
Yeah, I certainly wasn't questioning his courage nor artistic independence. More how it hits my ears. If anything, this thread moves too fast to give these entire albums a real listen; and a good one. It takes me six months to a year to a decade to get into an album, and by then everything has changed. And I mean everything.Stephen Sondheim, perhaps the greatest songwriter of the age, once said the major requirement of a song in a musical is that the world must be a different place by the end than it was at the beginning. Zevon's songs, like em or not, always meet that criteria. It's art and craft, not like that accidental stuff you listen to......Like Sondheim, there's a lot of Zevon's stuff i don't like because he always had the talent & turmoil & courage to miss the mark, but the ones that stick are mastery.
You are correct that he gets (got) a lot of respect from fellow musicians. The list of celebrity guest musicians on his albums is huge, Jerry Garcia, The Everlys, Lindsay and Stevie, Mick and John, David Gilmour, LInda, Bonnie, Dylan, every Eagle, REM, Neil, Bruce, Petty, Flea, etc.What a weird amount of respect that Zevon gets among his peers. I'm a dilettante when it comes to him, so maybe I should check it out on some nice audio gear and just enjoy. I dunno. Everybody seems to love his wordplay, his songs. I guess I'm just not a seven-minute freakout kind of guy, but I want to give a listen so I can hear what other people are hearing in the music that he writes.
Not studio. That's why heads and people hate their studio recordings. I don't. I love them. As a matter of fact, listening to them describe "Box Of Rain" off of American Beauty and hearing the producers and other songwriters talk about it is something other than an accident. It was very methodical. But I'm not sure I want to go down that rabbit hole. I know Spoon and Explosions are very deliberate, very attuned to how every note sounds, what every thing does.Grateful Dead is the very definition of accidental music.
The Everly Brothers love of Zevon gets me, and good. Love the Everlys. Everything they touched had a hint of refinement in it.You are correct that he gets (got) a lot of respect from fellow musicians. The list of celebrity guest musicians on his albums is huge, Jerry Garcia, The Everlys, Lindsay and Stevie, Mick and John, David Gilmour, LInda, Bonnie, Dylan, every Eagle, REM, Neil, etc.
If you're not familiar, Phil and Don hired Warren to be their musical director/keyboardist in 1970 and he stayed with them through their split in 1973. He then appeared on their solo albums and he led the band on Don's 1974 tour. Warren got Lindsay Buckingham to play guitar and sing Phil's parts on the tour.The Everly Brothers love of Zevon gets me, and good. Love the Everlys. Everything they touched had a hint of refinement in it.
Wow. No, I'm not familiar with what the Everlys were doing in '70-'73. To me, the Everlys are sealed a bit in black-and-white, for lovers and the moon. It's a weird nostalgia I get for them, their voices ascending. I do not think of Zevon or Fleetwood Mac. But thanks for that info.If you're not familiar, Phil and Don hired Warren to be their musical director/keyboardist in 1970 and he stayed with them through their split in 1973. He then appeared on their solo albums and he led the band on Don's 1974 tour. Warren got Lindsay Buckingham to play guitar and sing Phil's parts on the tour.
Hindu Love Gods is a favorite - I've got it on a cassette tape. Great versions of Battleship Chain, Raspberry Beret, Walkin Blues, etc. He reportedly recorded it in the late-night drunken down-time with the REM boys while they were making Sentimental Hygiene.Warren Zevon is my all-time favorite artist. Thanks for this one, Tim.
I think his eponymous album is better (certainly different), but this is the one everybody knows and your analysis is right on (Nighttime in the Switching Yard is pure filler, the rest is great).
Here's an excellent article from just last week on the 15th anniversary of his death.
I wore the grooves off VF's debut album. I was like 13 and there's was almost nothing hard & urgent like that out there, plus i already knew all the songs cuz they were not only covers but covers of recent hits, so i could figure out what that difference between regular & hard was. i was trying to do just that in many formats & emanations then....I'll put this here just because - skip to the bolded if the background is tldr material. My wife got me a subscription to Modern Drummer, including their digital archives, for Fathers Day, and I've been reading their back issues, starting with their first one in 1977. I'm up to the April 1978 issue now, which has Carmine Appice as the cover/featured artist interview. As I read through these, I go back and listen to/watch whoever it is they've interviewed. So with Appice his first prominent role was as the drummer for Vanilla Fudge. Can someone explain Vanilla Fudge to me? They're pretty horrible. Were they sort of embracing campiness or were they actually in earnest with their act? I couldn't listen to/watch much of their stuff before moving on. Fortunately Appice's next big gig was with Cactus (which was basically started by him and another guy from Vanilla Fudge) - I've enjoyed listening to that act much, much more than Vanilla Fudge. Solid hard rock act there.
Damn what a great song. Might be the best closing song ever on an albumA Day In the Life
Beatles guys hate When I’m 64 but I love the old school charmWhen I’m Sixty-Four
Lovely Rita
I always group these two songs together because they’re part of Paul’s music hall thing. Paul was in love with the old British music hall and produced several songs that would have for well with that era and even Gilbert and Sullivan (he is rivaled in this only by Ray Davies who we will get to later.) That’s not to say I don’t love it; it’s awesome, though he could go overboard at times (not here, but see “Honey Pie”, “Maxwell’s Silver Hammer”, and ESPECIALLY “Admiral Halsey”)
“It’s better to remain silent and be thought a fool than to speak and remove all doubt”A Day In the Life
Well this is the one everybody loves, so I may piss a few people off here. Don’t get me wrong I like it, it’s a fine song and I never turn it off when it comes on- but I certainly have never considered it one of the greatest Beatles songs ever. For one thing, the whole Paul interlude in the middle is for me a waste of time. The song would be just as good without that (or maybe even better.) For another, the lyrics make even less sense than “Lucy”. It’s not that they’re poetically obscure like a great Dylan song; it’s that they have no connection whatever with each other.
Not the best thing they’re ever done by a long shot.
Listen to the fills.Sgt. Pepper’s Lonely Hearts Club Band
I actually like the reprise better than the first version because we get the good lead guitar work at the end. Otherwise this song is kind of shtick IMO. Of course the first line it was classic but only because we’ve all heard it a billion times. I know everybody loves the use of horns here and on “Penny Lane” (recorded at roughly the same time but appearing on the next album.) They’re OK.
Joe Cocker is a hack and his version is an abomination.With a Little Help From My Friends
I really like Ringo’s voice, but IMO this song is far inferior to the Joe Cocker cover, also iconic- Cocker (who we will get to sooner or later) changes the entire feel of the tune turning it into a bluesy, soulful gem, which is completely lacking in this version.
It's not about LSD.Lucy In the Sky With Diamonds
Hey you know this song might be about LSD!
Now in this case I actually like this version better than the Elton John cover. Bizarre psychedelic lyrics but it’s 1967 so what the hell? It’s great. I’ve never been able to picture a marmalade Sky, though.
I agree it's amusing to see sunny Paul against acerbic John on this.Getting Better
I read somewhere that this was an argument between cheerful Paul and dour John:
Paul: Got to admit it’s getting better!
John: Can’t get much worse!
I was always amused by this. The song is your typical catchy McCartney tune that he would basically retread again and again for about another 15 years or so after this recording.
Neat sentiment except Paul wrote it. And it's a drag. But I do love the Billy Bragg version.She’s Leaving Home
One of the most beautiful ballads John ever wrote IMO, rivaling Imagine, Oh My Love and Julia. The lyrics are incredibly brilliant and poignant and I feel as much for the parents as for the girl. As good as anything on this album.
Many artists have done covers of this; my favorite is Billy Bragg.
These couldn't be more different IMO. Lovely Rita isn't a "music hall thing" - he tried to write a negative song about the advent of parking meters, but he's so sunny that he couldn't help but make it a love song. It's charming as hell. 64 on the other hand is just music-hall tripe.When I’m Sixty-Four
Lovely Rita
I always group these two songs together because they’re part of Paul’s music hall thing. Paul was in love with the old British music hall and produced several songs that would have for well with that era and even Gilbert and Sullivan (he is rivaled in this only by Ray Davies who we will get to later.) That’s not to say I don’t love it; it’s awesome, though he could go overboard at times (not here, but see “Honey Pie”, “Maxwell’s Silver Hammer”, and ESPECIALLY “Admiral Halsey”)
Yeah, you're pretty much insane.A Day In the Life
Not the best thing they’re ever done by a long shot.
I like this song more than most. As far as that awful movie goes, I've wiped most of it from my memory.Being For the Benefit of Mr. Kite!
The problem I have here is the movie featuring the BeeGees; every time I hear this song I think of George Burns.
I've never been a big Joe fan, but I do like his Woodstock rendition of "With A Little Help From My Friends" quite a bit.Joe Cocker is a hack and his version is an abomination.
I dare you to say that to my face.Joe Cocker is a hack and his version is an abomination.
I disagree, I like the Cocker version but the Beatles version is superior. Paul's bass work here is amazing.With a Little Help From My Friends
I really like Ringo’s voice, but IMO this song is far inferior to the Joe Cocker cover, also iconic- Cocker (who we will get to sooner or later) changes the entire feel of the tune turning it into a bluesy, soulful gem, which is completely lacking in this version.
Never heard about the argument thing and I've read almost every book on the Beatles. The song title was about drummer Jimmy Nichol who subbed for Ringo on tour when Ringo was ill. Every time they would ask Jimmy how it was going he would say "getting better". The line about beating and abusing his woman was about John's mistreatment of women. I am also curious as to what songs of Paul you think are retreads of this.Getting Better
I read somewhere that this was an argument between cheerful Paul and dour John:
Paul: Got to admit it’s getting better!
John: Can’t get much worse!
I was always amused by this. The song is your typical catchy McCartney tune that he would basically retread again and again for about another 15 years or so after this recording.
I don't think there are many similarities of the two songs other than they are stories about fictional people. John always slammed Paul for this but John did it on occasion too (Polythene Pam, Mean Mr. Mustard, etc.). Interesting fact is that Paul wrote "64" for when he was a teenager.When I’m Sixty-Four
Lovely Rita
I always group these two songs together because they’re part of Paul’s music hall thing. Paul was in love with the old British music hall and produced several songs that would have for well with that era and even Gilbert and Sullivan (he is rivaled in this only by Ray Davies who we will get to later.) That’s not to say I don’t love it; it’s awesome, though he could go overboard at times (not here, but see “Honey Pie”, “Maxwell’s Silver Hammer”, and ESPECIALLY “Admiral Halsey”)
Yeah I really disagree with everything here. The lyrics refer to articles that John was reading in the newspaper -- just a day in the life of someone. I absolutely love the middle segment of Paul's, it fits in perfectly with the theme of a day in the life and it is a great break. I'd love to turn you on was one of the first references the Beatles made about drugs, which is the main point of the album -- it effectively ushered in the psychedelic music wave.A Day In the Life
Well this is the one everybody loves, so I may piss a few people off here. Don’t get me wrong I like it, it’s a fine song and I never turn it off when it comes on- but I certainly have never considered it one of the greatest Beatles songs ever. For one thing, the whole Paul interlude in the middle is for me a waste of time. The song would be just as good without that (or maybe even better.) For another, the lyrics make even less sense than “Lucy”. It’s not that they’re poetically obscure like a great Dylan song; it’s that they have no connection whatever with each other.
This was mainly written by PaulShe’s Leaving Home
One of the most beautiful ballads John ever wrote IMO, rivaling Imagine, Oh My Love and Julia. The lyrics are incredibly brilliant and poignant and I feel as much for the parents as for the girl. As good as anything on this album.
I've never been a big Joe fan, but I do like his Woodstock rendition of "With A Little Help From My Friends" quite a bit.
Funny clip if you've never seen it: https://www.youtube.com/watch?v=qRHHUC68XB4
Nice callback.I dare you to say that to my face.
Where do you live? Just as soon as there is a celebrity LARP tournament (Lightning bolt!) I will be on my way there and we can meet in person.
I miss that guy.As a tried to illustrate earlier in my insomniac-morning post, putting SPLHCB on the turntable in l967 was music getting the wagon to the top of the ridge below which lay the Promised Land. We were switching from mono to stereo, figuring out that songs could be about anything and didn't even have to be hits but part of a bigger thing or theme and we could make a hit of that as a piece, recognized from Pet Sounds that there was a sonic landscape where people's dreams could be hosted. And the boys in the colorful silk jackets, epaulets & moustaches nailed the landing.Seems most of us don't rank Sgt. Pepper as highly as music critics do. I'm in the same boat - don't think it's even in my top five of Beatles records. That said, I can understand why it's ranked highly on critics' lists based on how groundbreaking it was, and I do have some favorites:
A Day in the Life - This is not just a masterpiece to be admired, but a highly enjoyable listen. I am endlessly fascinated by it no matter how many times I've heard it. I'll write a lot more about all of these, but particularly this one, when I do my Beatles song countdown soon.
Lovely Rita - I've only recently come to appreciate this one but find it charming and hilarious. There's a point just over a minute in where Paul yells "Rita!" and then it goes into a piano part that's jaunty and fun. I assume that's George Martin on the piano, but I bet @Godsbrother knows. Love the ending to this song, too.
Sgt. Pepper's Lonely Hearts Club Band - Love the vocal and the fuzzy guitar, but the drums really stand out to me on this.
Lucy in the Sky with Diamonds - Another that I've only appreciated more recently. The dreamy quality and dreamy lyrics, the tempo changes...
With a Little Help from My Friends - My favorite song with Ringo on vocal. The call-and-response is fantastic. I love Ringo's voice (and of course of course his drumming), but don't love his songwriting, so it's fitting that my favorite "Ringo song" isn't a Ringo song.
Good Morning Good Morning - This song is bonkers and I love it. No idea how Ringo could perform this song. He's off the chain on this one.
Within You Without You - I could listen to this forever. It's very soothing. Love its placement on the record and how it breaks up the two circus-y songs.