Archive for the ‘Juicy Lucy’ Category

The Spin Doctors

Monday, May 2nd, 2011

Listen: Little Miss Can’t Be Wrong / Spin Doctors
Little Miss Can't Be Wrong / Spin Doctors

I recall when The Spin Docotrs were drawing record crowds at Wetlands, located in what eventually became a very trendy part of New York: Tribeca.

The club had an out of character for New York City aura. Between the decor and general booking policy, it could have just as easily been in Nashville, but we all loved the place. Walter Durcaz was resident dj, and he would play the most unexpected, and therefore, wonderfully satisfying records. I’d go early, just to sip beer and listen to his choices. Things like The Keef Hartley Band’s ‘Roundabout’ into Cal Tjader ‘Soul Sauce’ then seamlessly segueing Dr. John’s ‘Jump Sturdy’ straight into Juicy Lucy ‘Who Do You Love’. Flawless journeys every time.

Due to their early origins with jam bands, The Spin Doctors were never hip, in a downtown way. I recall when Frankie LaRocca signed them to Epic. Despite all the other folks in the A&R community quietly trying to do the same, once it was decided Epic would be their home, those same folks suddenly wanted the band to fail, basically turning their hipster noses in the air towards The Spin Doctors. This, by the way, was a rather common reaction to every bidding war conclusion, another thing of the now powerless major label world was guilty of in their day.

But if you ever saw The Spin Doctors, in their original classic ’89 lineup, there’s no way you could not have become a fan. Blistering players, a non-stop happy energy and many, many great songs. Most never seeing the light of day, when it came to official releases that is.

‘Little Miss Can’t Be Wrong’ had a hint of The Georgia Satellites during those solos, but it was the Jimi Hendrix style riffs and tones throughout the body of the song that has placed this top of the list amongst The Spin Doctors’ 7′ singles section in the SO MANY RECORDS SO LITTLE TIME Hall Of Fame.

Merle Haggard / The Youngbloods

Wednesday, March 16th, 2011

Listen: Okie From Muskogee / Merle Haggard
Okie From Muskogee / Merle Haggard

I think it was on the Johnny Carson Show where I first encountered ‘Okie From Muskogee’ and in fact, had initially even heard of Merle Haggard. He and his song became the enemy in three short minutes. It was, at the time, a clear antagonistic attack on youth culture. And I was a member.

Many years later it became obvious that the world of country music was as twisted by drugs and sex as any other. Made Merle Haggard become something like an unregistered hypocrite. And once everyone discovered he’d been in jail and all that, he crumbled into a joke.

As it turns out, he claimed the song to be tongue in cheek, and nowadays, I guess everyone believes him. He’s certainly made a lot of good records since. Who knows – the single is quite funny in the 21st century, even hard to hate.

Listen: Hippie From Olema / The Youngbloods
Hippie From Olema / The Youngbloods

There was some relief in the day though. The Youngbloods shot back with a fantastically hysterical response in the form of ‘Hippie From Olema’, a very under heard, under appreciated non-LP track. I don’t believe it’s ever been compiled.

It was the local Syracuse University station, WAER, that started to spin it heavily. The single was perfect for campus radio. And we all glued ourselves to their frequency, given in the late 60′s, they were the only progressive format in town.

I, for one, loved the station. Half the student disc jockeys were Anglophiles jamming out Blodwyn Pig, Juicy Lucy, Chicken Shack, Taste, King Crimson etc over the airwaves. WAER was a Godsend.

The Youngbloods came to the school’s gymnasium about then as well. Despite their unwashed, American folk rock angle, I always loved their records. Never did they release a bad single either, whether it be the early, more pop intended ones (which Jesse Colin Young often accused RCA of forcing them to do) to later, underground album tracks.

So off to the show we went. Let me tell you, they were a serious live band, incredibly musical and entertaining. Collected every last release ever since.

The closing lyric: “We still take in strangers if they’re haggard” gets a SO MANY RECORDS SO LITTLE TIME lifetime lyrical achievement award for being right up there with both The Ramones’ “I don’t care about poverty, all I care about is me” and Lux Interior’s “From your bottom to your top, you’re sure some lollipop”. Congratulations guys.

Audience

Sunday, February 1st, 2009

Indian Summer / Audience

Indian Summer / Audience

Listen: Indian Summer / Audience
Indian Summer / Audience

It Brings A Tear / Audience - US

Listen: It Brings A Tear / Audience
It Brings A Tear / Audience

Listen: You’re Not Smiling / Audience
You're Not Smiling / Audience

AudienceStandUKA, Audience, Charisma, Howard Werth

You're Not Smiling / Audience UK

You're Not Smiling / Audience - UK

Stand By The Door / Audience

Listen: Stand By The Door / Audience
Stand By The Door / Audience

I really shouldn’t like Audience. I’d have done a lot better in school had it not been for them. I could have been a doctor or something. Instead, I spent seemingly an entire Fall semester possessed by their album, THE HOUSE ON THE HILL. It wasn’t just me. My two room mates Larry and Stewart caught the Audience sickness as well. We would literally listen to this album over and over and over. Lights low, candles, pot, huge Audience poster hanging squarely above the turntable (still have it – neatly folded and slid inside the album with the label bio and 8×10′s). We were all entrenched at the college radio station, WITR. We pretty much ran the joint. I was both the music director and program director, not to mention concert chairman. It was English bands and only English bands. If you didn’t like it – transfer out. Every night we’d come back to the apartment with the latest promos that had arrived from the labels. We weren’t in the dorms – we had a proper apartment with very little furniture, lots of mis-matched pillows, orange shag rug and a low coffee table covered in music magazines and drug utensils. Mattresses on the floor in each bedroom – no beds, cardboard boxes for dressers. The records were everywhere, cinder blocks and clapboards constructing many makeshift shelves. Emergency suitcase record players in each bedroom for late night listening too. So we would whirl through the latest offerings: Greenslade, Byzantium, Atomic Rooster, Colosseum, Chicken Shack, If, Family, Juicy Lucy, Manfred Mann’s Earth Band, just endless titles. But THE HOUSE OFN THE HILL would start and end the sessions, with a few plays during as well. You could really justify fucking off to it, nothing was more important, it was that good.

I’d heard ‘Indian Summer’ on the radio just before school went into session, must have been late August. Wow – what was that?!? It stood right out and was getting that suspicious two week window of play at Top 40. They called this being tested, and if good results came back, then they’d really hang you out for payola. Isn’t American radio great!!! This sophisticated British sounding song in between Andy Kim and Lobo, or whatever. Yes, I paid attention. I remember the single charted briefly on the Billboard Top 100 too.

During the following winter, I made one of my life’s biggest mistakes. I missed Audience live on their brief, and only, US tour. Gasp. They were opening for The Faces. It was a Sunday night, in Buffalo, about 80 miles away. I had no car, no one did, and no money to get there and certainly no way to get home. I watched the clock that evening, knowing they were playing so close yet so freaking far away. Why didn’t I just hitch hike? Risk being murdered – no brainer. But I didn’t and they never returned. Still bothers me to this day.

Such beautiful music. I know that sounds well corny but just listen. Howard Werth’s shivering vocals, Keith Gemmell’s signature sax that years later The Psychedelic Furs would unknowingly coin, just the right touch of baroque classical trimmings, not stuffy or overdone. The Strawbs, Amazing Blondel and ELO were klutzy klompy plodding wannabes next to Audience. Mind you, Audience had a wonderfully sloppy feel as well. But it was a magical balance and no one ever came close to matching it.

I’ve posted a bunch of Audience mandatories above. That first US 7″ is a classic double sider, and the promo only UK sleeve that housed ‘You’re Not Smiling’ is a prized possession. Isn’t even in the price guide. ‘Stand By The Door’, their final single is simply a perfect masterpiece.