Ode to a Mixed Tape – ‘70s Underground

Text © Robert Barry Francos
Images from the Internet

This tape was made around 1980, created when I was getting ready to drive to Boston for the first time. Well, actually, I was given the opportunity to “couch” it at my friend Joe Vig’s place on Dragon Ct., in Woburn (about 20 miles north of Boston). This was the trip I would also meet the great Kenne Highland (who gave me easy directions for a local, but totally confusing for a New Yorker: “take Mass Ave to Comm Ave…), and photographer Rocco Cippilone, who would go on to create Bang! fanzine before disappearing into the ether.

The idea for the tape is of a collection of the start of the underground scene in New York (and beyond), that is loosely chronological at start, but varies as the vinyl came into my hand from my collection. As always, I have tried to find a video of the original release of the song as it appears on the tape, and if that’s not possible, an alternative or live version by the same artists. The qualities of the videos vary widely.

SIDE ONE

The Stooges - I Wanna Be Your Dog
The New York Scene of the mid-‘70s, starting with the New York Dolls, could arguably be considered the bastard child of Iggy and the Stooges, and the Velvet Underground: a mix of melody and amelodic layering. It’s harsh and sharp, with lyrics that were certainly not by the books. The VU had “Venus in Furs” and the Stooges had this, both of which have sadist / masochistic themes. While the VU one smoldered with artistic leanings, this just rocked as they did in Detroit in those days. Sometimes Alice Cooper gets lumped in with the “father of punk” label, but as much as I respect the man, even with angst ridden lyrics, he was more theatrical rock, much like KISS, but punk was stripped down (even though many of the early fans came from liking the both of these).


The Stooges - Search & Destroy
With Ron Ashton’s guitar madness (RIP Ron) holding this tune up, Iggy just explodes in one of the best opening lines of the period: “I’m a street walkin’ cheetah with a heart full of napalm.” In that timeframe, this line alone can be seen as one of the key reasons Iggy was seen as such a strong proto-punk figure. I’ve seen Iggy two or three times now, including at the Brooklyn Zoo and the Palladium. At Zoo show, he was a couple minutes into a song, when someone threw some ice at him. He stopped the song, and snarled, “Don’t you fuckin’ throw ice at me. This isn’t a request, this is a command!” Then he started the song from the beginning.


The New York Dolls - Personality Crisis
The only time I ever saw the Dolls in the ‘70s was post-Johnny and Jerry, and it still was exciting. Their sloppy stage performances were just what was needed in the days of excess but technically precise musicianship. The group was a perfect combination of musicians who were in worlds of their own while on stage, musically stepping all over each other, but they making it work. If I made this tape today, I would have followed this with “Trash.” (RIP Johnny, Jerry, etc.)


The Ramones - Blitzkrieg Bop
This is the start of true punk rock, even though the Ramones never considered themselves in that genre (Miriam Linna, in 1977, said to me that they did think of themselves as punks. This iconic song was mostly created by Tommy, originating as “Animal Hop,” before the rest of the band put their creative input to task, and came up with this, the most played of the Ramones songs. I remember at least 4 or 5 television commercials that have used it, the first being a beer ad. While I don’t think it’s their best song, it certainly seems to be their best known. (RIP Joey, Johnny, DeeDee)


The Ramones - Glad to See You Go
As much as I loved the self-titled first Ramones album, it’s their second and third that are my favorites. As this song shows, the lyrics are a bit stronger, the melodies are more pop without compromising their fierceness, and they rock hard, as Suzi Quatro may have said.


The Ramones - Gimme Gimme Shock Treatment
The grilling guitar as Joey sings the title line is a great shredding sound that would be imitated often by harder metal bands to come. If I made this tape now, I would have probably put in “Rockaway Beach” here, which has come to be my favorite Ramones song of the moment.


The Ramones - Oh Oh, I Love Her So
See, the Ramones could write some beautiful love songs without giving up who they were. I’m surprised a certain fast food chain hasn’t snatched this one up as a theme. I can’t remember how many times I’ve seen the Ramones play, starting with a show shared with Talking Head (who opened) on June 20, 1975, at CBGB. My first roll of 35mm film was used to take snaps of the Ramones, and the contact sheet was recently signed by Tommy, thanks to my pal Bernie Kugel. It’s framed on our living room wall.


Richard Hell and the Voidoids - Blank Generation
While I was never into drugs, this song managed to feels like it defined me in its moment in time, and I still consider myself part of the blank generation as a term to describe a regular on the New York City mid-1970s pre-punk rock/New Wave underground music scene. What a great opening line: “I was sayin’ let me outta here before I was even born / It’s such a gamble when you get a face.” Plus Richard Lloyd’s ripping, nearly a-tonal guitar shatters any preconceived ideas about standard song structure. The Voidoids and Television (at some point, bassist Hell was in both) were far closer to the center of the Velvet Underground noise and Stooge’s rock sonic attacks. (RIP Bob)


Richard Hell and the Voidoids - Love Comes in Spurts
This is about drugs and sex as much as Chuck Berry’s “Maybelline” was about women and cars. There are three versions of this song that I know of: the earliest by the Heartbreakers (another band in which Hell was a member) which is represented in the video below, the Ork single that is on my tape, and the one from the Sire album, which is the better known. I put the one I liked best on this tape.


The Heartbreakers - One Track Mind
The lyrics to “Love Comes in Spurts” was written by Hell, and the music by Walter Lure. When Hell left the Heartbreakers, Lure wrote his own lyrics on a similar topic line, but the chorus is on a different part of the melody (ingenious, actually). When the title of the song comes up in the chorus, I like to overlap it by singing the original lyrics. Like something Sondheim would have done (or not!). While the line “There’s tracks on my arms / And tracks on my face / Tracks on the walls / All over the place” is the most quoted, my favorite is “My rule book is thin / It says ‘Don’t. Come. In!’” I understand Thunders was the main focus of the Heartbreakers, but Walter was equal in my eyes as far as personality, and possibly further in talent. I really miss the Lure / Thunders / Nolan / Rath version of this band, when it was at its peak they were (usually) tremendous to watch.


The Heartbreakers - Let Go
Now it’s Johnny Thunders’ turn on vocals, as he commands, “I don’t know why you just don’t bloooooooowwwwwww.” The video below is live, but mine’s from the L.A.M.F. album.


The Heartbreakers - Chinese Rocks (Live)
Written by DeeDee Ramone, the ‘Breakers make it their own by changing the lyrics at the end of each chorus. My tape is taken from the Live at Max’s album, and while the video here is different, it has the same altered lyrics, though the sound on the album is superior. Any one who knows me will tell you I love the Ramones, but the Heartbreakers’ version of this song is superior.


The Dictators - Master Race Rock
Led by four Jewish guys, the irony of the title of this song is not lost on their fans. From their first Go Girl Crazy album, basically this is making fun of the class bullies more than anything else, with hysterical lyrics, killer rock bottom, and a sailing guitar. It’s a perfect combination of Shernoff and Manitoba vocals, with a sharing of stanzas and chorus. I mean, how can anyone take lines like “My favorite part of growing up / Is when I’m sick and throwing up / It’s the dues you’ve got to pay / For eating burgers every day” serious enough to point a finger at the boys. I saw the band play many times, starting in ’75, and every one was a great show. DFFD.


The Dead Boys - Sonic Reducer
First time I saw the Dead Boys was them opening for the Damned. In fact, it seems the first few times was that combination, and always at CBGB’s. The Dead Boys were a killer act, and arguably the first hardcore band. From the opening salvo of the scream/whelp of “I don’t need anyone!” the challenge was initiated. Whether ripping off Mariah Aguier’s top onstage (I was there that infamous night) or crawling into the crashing drum kit mid-song, Bators was more than a singer, he was a force. The Lords of the New Church never really did that much for me, but the Dead Boys has not been matched by any of the band members’ other work. My tape has the opening cut of their Young, Loud and Snotty LP, though the video below is a live take. (RIP Stiv)


The Dead Boys - What Love Is
“I wanna write on your face with mah pretty knife / I want some of your precious smile… / I want you to know what love is.” That’s starts the chorus. Some of the songs on the album was dedicated to one of their underage groupies, Lydia Lunch (“I Need Lunch,” “Caught With the Meat in Your Mouth”), and I was kind of thinking this may have been as well, for some reason. There is a sense of both anger and pleading for understanding that runs through this. Bator again handles it with strength, and just the perfect hint of whine. The video below is a bad live version, but it’s the best I found.


Tuff Darts - Slash
Robert Gordon, who fronted Tuff Darts for it’s initiation, fortunately stayed long enough for two live songs recorded for the Live at CBGBs double album. This is a truly ballsy song about a groupie (I used to know which one, but I can’t remember these days… Fox?). It’s just full of sexual contempt, and pre-rockabilly Gordon totally emotes that he’d rather “Slash my wrists and cut my throat / Than have to spend the night with you.” I never saw Tuff Darts play that I can remember, but I have a fond memory of interviewing the band’s true leader and fashion maven, Jeff Salen, at his clothing store on 72 Street a long time ago. Say what you want by Gordon’s replacement, Gordon really fucked this band over royally, and what was his reward? A couple of near hit singles (“Someday, Someway” and “Only Make Believe”) and some non-selling albums. They could have been the Teenage Head of New York.

SIDE TWO

Tuff Darts - All For the Love of Rock’n’Roll
This song is more manifesto than anything else. It posits, “I don’t care about the money / I ain’t seen none / And I don’t care about the women / ‘Cause I just need one / The reason I say it / You really oughta know / It’s all for the love of rock’n’roll.” Someday, someone needs to do a bigger cover of this to perpetuate it. The video is from Jeff Salen’s Memorial. RIP, Jeff.


Patti Smith Group - Gloria (In Excelsis Deo)
The first time I saw Patti was at the now famous (and often bootlegged) show at the Bottom Line. She was such an exiting performer, especially in a smaller setting, where she would come out and talk to the audience and read some poems as the Group set up, and then when everyone was ready, she’s usually lead off with “We’re Gonna Have a Real Good Time Together.” The Horses album is one of the first of the New York underground scene to be recorded, and there is not a bad cut on it. Imagine how brave it must have been to have the first line of the first song of your first album start off “Jesus died for somebody’s sins but not mine.” I realize she was being poetic, but remember the hell (pun intended) that Lennon went through not very long before with his Jesus comment. When the PSG did the song on the first season of Saturday Night Live, it was well received. Now, it would probably cause a scandal due to that line; think of what happened to Sinead O’Conner. Despite a long fallow musical gap in the ‘80s and ‘90s, Patti came back and her material is as magnificent as ever. I’m looking forward to reading her new autobiography about Mapplethorpe. (RIP Richard Sohl)


Patti Smith Group - Free Money
I actually wanted to put “Land” here, but the song is nearly 10 minutes long, and it would have taken up too much time. So I picked this wishful song of desperation, that if I remember correctly, features Tom Verlaine (another of Smith’s paramours) and his flashing guitarwork. Like I said, the album is flawless, so I just went with an eeny-meeny pick.


The Afrika Korps - Jailbait Janet
After Kenne Highland left the Gizmos, he came to the New York tri-state area and did a song that would become one (of many) of his I-IV-V classics. This is a true story of a rivalry between Kenne and his friend, and the woman they both lusted after. Kenne is back doing music, and I look forward to hearing so much more from the man who has fronted more bands than anyone else I know - a few of which I’ve seen, and one I was a participant in both the naming of the band (The Hopelessly Obscure) and a recording session down the block from the Rat. The video is live; the album cut on my tape is not.


Talking Heads - Love (Goes To) Building on Fire
The Talking Heads only released one song as a trio, before Jerry Harrison joined the band, and it remains my favorite, despite the “inexplicable use of horns” (as Michael of the ex-Bleecker Street store Disc-o-Rama once said). I saw them a few times, the first opening for the Ramones in June 1975 (the Heads’ first show), and I was intrigued. Without any implication meant towards Harrison, I thought the keyboards made them too slick and I lost interest shortly after he joined. This song, their first release on Sire, is a non-LP 45.


The Modern Lovers - Pablo Picasso
From their first groundbreaking self-titled album, Jonathan Richman ended up being into the more pop side that followed on his next album by the time this came out, and refused to do any of the songs live when it hit the streets. Actually, I prefer the second album to the first, but this is a nicely dark and thumping song, which is highly influenced by the Velvet Underground (John Cale would later cover it).


The Modern Lovers - Road Runner
While the video below is the album version, though I actually prefer the alternate from the Beserkley Spitballs comp album (my fave JR song, “The New Bank Teller, is amazing), which I have on my tape. A digression… This mixed tape was playing as I was driving up to Woburn, and when Richman says, “Can you feel it out in Needam now?” I had just past the sign for the town. Then he sings, “Out on Route 128, by the power lines.” At that moment I was on Route 128, and there to the left were the power lines. It was a Keanu Reeves “whoa” moment.


Blondie - X Offender
Blondie were opening for the Ramones the second time I went to CBGB’s during the early summer of 1975, and I saw them quite a few times after that. At either that show or the one after, Debbie presciently stated, “Here’s our upcoming disco hit, ‘Heart of Glass’.” This was before they were even signed to a label. And speaking of which, Chrysalis released this single before the first album came out, which has a different mix. The video, fortunately, is also the single version. For me, Blondie’s best release was their first album, which had everything I liked about the band. After, they became way more over-produced, glossy and polished, and while they were still interesting, their records became more and more blah for my tastes at the time.


The Criminals - The Kids Are Back
After Sylvain Sylvain left the Dolls, but before his underrated stint with the 14th Street Band (whom I saw a few times, including at Hurrahs with the Rich Kids opening, featuring Glen Matlock and Midge Ure – who I found pretty lame), he formed the Criminals. This single is a nice, kick-ass number showing that he had more chops than just backing up Johansen. But even here he can’t get away from his Dolls “jacket,” naming off all the previous band’s members at a later point in the song. The video is the same song, but done live and with a different band backing him up on a telethon.


The Count - The Morn of the Confrontation
I was going to visit Joe Vig, so I figured I may as well put one of his songs on the tape. This was one of his very early recordings, and one of his best of the time. It’s a full out production, with a great tune and strong lyrics. He cries out on the chorus, “Seems like I’m trying / You know I’m trying all the time!” Viglione is another musician whose material is better than his career as a musician, which is a shame.

The Jumpers - I Wanna Know What’s Going On
Ah, the Jumpers, from Buffalo. Their first single was produced by Bernie Kugel by money borrowed from Dave Olka, it was written by band member Bob Kozak and fronted by the irrepressible (and Joey Ramone-level tall) Terry Sullivan. Kozak remains a strong songwriter (he and Kugel have performed together a number of times). Both this song and its flip, “You’ll Know Better When I’m Gone,” are likeable numbers in a Real Kids vein (or vice versa).

The Marbles - Forgive and Forget
From the first time I saw the Marbles, I fell in love with their sound. They had a scene-level hit with their powerpop Ork release, “Red Lights,” but I chose this Eric Li fronted number for this tape. Eric struggled with the high notes, but the melody and harmonies are as wondrous today as they were then. The Marbles only released two singles, but neither contain my favorites, “You Tomorrow” or “She’s Cool.” There is a live video of one of their shows floating around in some studio, and I recommend seeking it out (the clip below is from it). (RIP Eric)


Iggy Pop - Lust For Life
I started with Iggy, so I end with Iggy. This is one of his first solo hits, which has been way overused in commercials on television. It’s a commentary about the evils of consumption, and it’s used to promote the same. Go figure.


BONUS:

Ode to a Mixed Tape – Wonder Women of the ‘60s

Text © Robert Barry Francos
Images from the Internet

This tape was made somewhere in the early ‘80s, between interviewing Ronnie Spector for her Siren LP, and the Bottom Line versions (saw them both, though not the bloated Broadway version) of Ellie Greenwich’s Leader of the Pack [LoTP] show.

I haven’t described much of what is on the tape, because this music speaks for itself. As always, I have tried to find the original release of the song as it appears on the tape, and if that’s not possible, a live version. The quality of the videos varies.

SIDE ONE

The Shangri-Las - Leader of the Pack
As much as I adore some of the other singers on this tape, no one could match the sheer bad-girl sexiness of the Shangri-Las (from Queens, NY!). The Weiss sisters’ vocals could evoke like no one else. Covering an Ellie Greenwich tune doubles it.


The Chiffons - He’s So Fine
Great Carol King and Gerry Goffin tune performed with tight harmonies. The Chiffons were from the Bronx!


The Shirelles - Will You Still Love Me Tomorrow
This was considered quite the risqué song at the time, but these Jerseyites pulled it off tentatively enough to get past the moral code, but tenderly enough to be tempting. Another King / Goffin classic.


Leslie Gore - It’s My Party
Much better than the follow-up, “Judy’s Turn to Cry,” 16 year old teen idol Gore (nee Goldstein, from NYC and then NJ) powers through this tune that has become iconic as both a song and a commonly used turn. I had the privilege to see Leslie perform a couple of years ago (thank you Ingrid!) and she still has that killer voice. “You Don’t Own Me” and “Maybe I Know” are still my favorite Gore songs, but I didn’t own them when I made the tape.


The Angels - My Boyfriend’s Back
Growing up I thought they were African-American, but found out on an “oldies” show on TV (Solid Gold?) that I was mistaken about these Jersey women.


Little Eva - The Locomotion
Little Eva (Boyd), born in North Carolina and then moved to Brighton Beach, Brooklyn, was famously Carol King’s babysitter, who was projected into the limelight. There are a lot of fun covers of this tune (including one by Christopher Milk which is wonderfully twisted), and some that are just awful (Kylie Minogue, for example). There is even a tribute song called “Little Eva” by the Locomotions.


Fontella Bass - Rescue Me
This song always make me happy. Why Fontella didn’t go further I don’t know, as she was as good if not better singer than many during the whole Motown period. Oh, and she also co-wrote this song. It’s a knock-you-outta-your-socks R&B classic. The only decent version I could find was a live recording, which is still powerful.


Merrilee Rush - Angel in the Morning
As with “Will You Still Love Me Tomorrow,” it’s about the awkwardness of the day after, but this time it’s the woman’s choice for a one-night stand. Again, groundbreaking for the time. Merrilee’s version is the definitive one for me, though it seems more people know the bloodless Juice Newton or ABBA covers.


The Shirelles - Dedicated To the One I Love
Many more people seem to be aware of the Mamas and the Papas’ version, which is sweet and all, but this is the one that I think of first.


The Dixie Cups - People Say
The Dixie Cups are more known for “Chapel of Love,” but I think this song is better written, harmonized, and structured. Both were written by Ellie Greenwich and Jeff Barry.


Millie Small - My Boy Lollipop
This exceedingly early (first?) ska hit was first noticed by me because of the strange accent that I had never heard before (“You set the world on fayah / You are my one dee-zai-yah”), but I fell in love with the song quite quickly. And once I heard the B-side of the single, “Sweet William,” that became a fave as well. The British ‘80s ska group Bad Manners did an interesting cover of it.


Mary Wells - My Guy
Mary Wells (d. 1992) was the first superstar of Motown, and this Smokey Robinson (who also wrote “My Girl”) tune is a good example why.


Betty Everett - The Shoop-Shoop Song (It’s In His Kiss)
Like “Rescue Me,” this is a raver with great background harmonies; the changing melody lines hook the listener in. Everett (d. 2001) just grabs you with her opening exclamation, “Does he love me / I wanna know!” This song has been covered numerous times, again, without the same fire (Cher’s arguably being the most well known of them).


The Shirelles - Soldier Boy
This song is probably closest to the sometimes bland balanced-harmonies singles that came after doo-wop and before the Beatles. It doesn’t really have any outstanding moments, but it’s still an enjoyable song.


Claudine Clark - Party Lights
Actually, I became aware of this reggae-infused song though Walter Lure’s amusing version. But once I heard this original, well that was it for me. Yes, I can still enjoy Walter’s, but Claudine’s has a bite, and is also sadly comical as Clark complains to her mom about not being let her go to the party next door (“They’re doin’ the twist, the fish, the mash potato too / I’m here looking at you”).


The Chiffons - One Fine Day
While this is an up-beat song, written by King / Goffin, it’s a bit demeaning as the protagonist is waiting for her straying boyfriend to realize she’s the one. It can be seen as sort of the female call-and-response to Lou Christie’s “Lightenin’ Strikes.” But it is so upbeat and joyous, I’m willing to look past that.


Evie Sands - Take Me For a Little While
This is another song I first heard though a different artist, in this case Dave Edmunds. Evie’s is a bit more gritty, though it is similarly passive as “One Fine Day.” Sands is another artist that should have had more hits. The live video shows her sincerity (and note Darlene Love in a blonde wig doing back-up!), as she sings through her thick Brooklyn accent (and killer dimples).


The Jelly Beans - I Wanna Love Him So Bad
Another wonderful Greenwich / Barry classic, song by this one-hit wonder Jersey City group.


SIDE TWO

Ellie Greenwich - You Don’t Know
Before years of smoking ravaged her voice, the Brooklyn songwriter who defined the early ‘60s vocalized some of her own material, including this freakin’ gem. Man, this is a beautiful tune from beginning to end. Glad I got to tell Ellie I loved her to her face while I had the chance (d. 2009). Sorry about the Disney visuals on the video, but this was all I found.


The Shangri-Las - Remember (Walking in the Sand)
A classic whiner, and the first Shangri-Las number I remember as a kid. Later on in life I would come to realize just how rightfully important the Las were (and as an influence, still are).


The Dixie Cups - Chapel of Love
I have to say over the years, perhaps from the overuse of the tune, I’ve grown a tad tired of it. That being said, the Cups use some very sharp contrasting harmonies, especially later in this Greenwich / Barry song.


The Shirelles - Foolish Little Girl
My favorite Shirelles song. Their call and response is still fresh.


Great Big Kiss - Shangri-Las
Is there any sexier moment in the history of ‘60s rock’n’roll than the response to “Well, how does he dance?” “Close…very, very close.” From beginning to end, this song is killer.
Embedding not allowed on the full version, so here the link: youtube.com/watch?v=gOdP_VvPKHU
This is an excellent live cut, but the last chorus is cut out, probably by local television standards and practices.


The Shirelles - Boys
Sad to say, I was aware of the Ringo version first. This is much more the speed I like, though.


The Crystals - And Then He Kissed Me
This is the start of the Darlene Love section of the tape. And rightfully so. She recorded under so many different names, thanks to Phil Spector, but she is an undeniable power. I am very happy to say that I got to see her perform in both of the Leader of the Pack shows at the Bottom Line, and she was as exciting as ever.


The Ronettes - Be My Baby
At the time, Ronnie Spector was someone that everyone of every background wanted to be with (and for me it was not just because she grabbed my crotch as we had our photos taken together). She has a voice that is instantly recognizable. She was robbed of her career by the same Phil Spector who diffused Love’s. The video below is the original version, and a live version follows. Digression: my friend Bernie Kugel had “Happy Brithday” sung to him by her this year.



Bob B. Sox and the Blue Jeans - Why Do Lovers Break Each Other’s Hearts
Once again, Darlene Love shines on a Greenwich / Barry tune.


Darlene Love - Today I Met the Boy I’m Gonna Marry
One of the few songs she sang under her own name, and one of many that were just beautiful. Another Greenwich / Barry bonanza.


The Ronettes - (The Best Part of) Breakin’ Up
I don’t ever remember hearing this song on the radio, but it was on a compilation that I heard in the ‘80s and realized how much fun it was.


The Crystals - Da Do Ron Ron
I repeat: Once again, Darlene Love shines on a Greenwich / Barry tune. This one has been covered a few times, most famously by Shaun Cassidy, but no one has touched this.


The Blossoms - He’s a Rebel
This time Darlene Love covers a Gene Pitney tune. It’s considered one of her signature songs. Usually it is credited to the Crystals, but it is actually Love singing with a different back-up group.


Bob B. Sox and the Blue Jeans - Not Too Young to Get Married
Far among my favorite Darlene Love vocals. After a short prelude, she just kicks this number into a foot-stompin’ rave-up that does not let up. It also shows some of her range.


The Ronettes - Walkin’ in the Rain
This is one of Ronnie Spector’s three songs that are untouched by any others (all of which appear on this tape), original or covers. For some reason, I find oldies stations tend to play the Jay and the Americans version more often, but that’s just ridiculous (and I say that with no disrespect to Jay Black’s own amazing vocals).


The Crystals - He’s Sure the Boy I Love
And yet another rave-up proclaiming love for the “boy” who is not exactly a success in life (a prequel to the Crystals’ “Uptown”?).


Darlene Love - Wait ‘Till My Bobby Gets Home
Another rave up where Darlene is permitted to use her own name. This one is reflective of “My Boyfriend’s Back.”.


The Ronettes - Baby I Love You
To me, this song is Ronnie Spector. It’s also Phil Spector’s production at its finest.


Bonus:

Ode to a Mixed Tape – "2003"

Text © Robert Barry Francos
Images from the Internet

This was another tape made for some long drives I was making at the time. As always, I have tried to find the original release of the song as it appears on the tape, and if that’s not possible, a live version. However, much of the music I listen to is indie stuff, so it’s kind of hard to find.

Oh, and FYI, I strong resent and hate the new ads that are popping up on video sites like Vevo and YouTube.

SIDE ONE

Cadallaca – The Trouble with Public Places
Closely associated with Sleater-Kinney, this Cali trio has a great alt-indie sound that’s sharp, in both intelligence and beat. The live version of the song below (mine is off the studio CD EP) is hard to make out, but it tells of being pestered by some drunk (or druggie) while waiting for a band to show up, leaving the question of whether go home to get away from this tool and miss the band, or stay and be annoyed. I loved this song from the first time I heard it, and still do. Best cut on the EP.
myspace.com/cadallaca


Mike Brown and the Sneakies – Fuck You
While the whole CD is great rock’n’roll in a bar/garage format, this song is a killer. It starts off with a callous phone message from the girlfriend telling the singer she’s leaving him, while bragging she’s been “lying and cheating…so, fuck off.” This song is the response, and it’s so well written, with lines like “Fuck you and your suicide sidekick / Fuck you as you both spiral down / I’m through with the lies and the bullshit / I won’t be there when you both hit the ground.” There’s a very catchy chorus that has to go through the mind during a break-up after the listener has heard it.
myspace.com/mikebrownandthesneakies

Syd Straw – Think Too Hard
Syd was in the Golden Palominos, among other collectives, and has a great rock-meets-country sound. Surprise, the album this cut is taken from, though, is solid pop (with a country flair). Lots of pounding rhythm, gloss studio work, and I think a weakening of a great sound. That being said, there are a couple of really good cuts on it, including the Michael Stipe joined “Future Forties”, and especially this one. It’s a foot pounder, for sure, and manages to show Syd’s unique range. Sadly, I couldn’t find the video that goes with it, which is directed by Diane Keaton, of all people (who also did her “FF”) .
sydstraw.com

Mystic Eyes – Turn and Kiss Me Goodbye
There are a number of compilations that feature the Mystic Eyes, and this is one that made it onto the Lonely Planet Boy comp, but not either of their (excellent) albums. This tune's a rip roarin’ number, with Bernie Kugel getting’ all in your face, with a scream of “We’re the Mystic Eaaayyyeeeeezzzz.” As with most of Bernie’s songs, there are a couple of amazingly great written lines, one such as in this case “I see your face / I see your eyes / The genius things / That only I surmise.” And, as is usual with a BernieTune, it has a melody line that is both sing-a-long, and a pleaser. When is someone going to do a tribute album of his songs, already? I mean, the Cynics did a wicked cover of his “Girl, You’re on My Mind,” and the Dark Marbles have already covered “Walk Around the World.” There is just so much more that needs to be heard. (RIP Eric)
mysteyeco.20megsfree.com/index.htm

Molly and the Haymakers – Jimmy McCarthy’s Truck
Solid country, this is another rave-up. I found this CD at Sounds (St. Mark’s Place) for $2.99 a while ago, and keep coming back to this song about first love. She states, “Jimmy and I, you know that we were tight / In that cabin we learned about the night / My mama said, ‘What do nice girls do / ‘Til 25 to 2?’ / We were riding around in Jimmy McCarthy truck.” There’s a couple of lines I’d love to excise from the song where she states that growing old “becomes a growing fear,” which brings down the mood just a bit. Still, every time I hear this song, I’m happy.


California Speedbag – Shitlist
Off a compilation collection called Pies and Ears, this is one of the great punk country “I kilt my wife” songs. Takes a long time to get to its point, with a slow pounding melody, and then Gary Lupico’s creaky vocals come in, to a song that never lets up. The protagonist, in prison, wonders, “Am I on your shitlist Jesus / I know I’m no saint / They tell me that I’m worthless / Jesus tell me that I ain’t.” He further explains, “I never would have loved her / If I know’d she walked the line / And I never woulda shot her / If I know’d I’d do the time.” His voice sounds like he really has had a rough and tumble, hardscrabble life (RIP Gary).
myspace.com/californiaspeedbag

Melanie – Almost Like Being in Love
I heard this as a bonus track on the CD release off the Melanie album. She takes the tune from Brigadoon and makes into something completely else, using dissonant notes and a sweeping melody (rather than the original hokey love ballad). With harmonious backup singers, she shows that she wasn’t just some hippie singer, but a well-rounded, talented New York musician. Though I’ve seen her in concert a few times, I regret that I didn’t get to meet her when she was recording in a studio while I was working in the office (early ‘80s); didn’t know she was there until after she left. The live video below is pretty close to the studio version on my tape.
melaniesmusic.com


Life Underwater – Lead Me On
Author/musician/poet JD Glass is the core of Life Underwater. This live cut is one of LU’s strongest cuts, though all of them are well written and played. They’re sort of a cross between rock and singer-songwriter, depending on the line-up at any particular time. LU have a new name now: The Charm Alarm, and I’m looking forward to hearing more of their tunes.
Read an interview I did with lead singer JD here (Part I; see list on right side of page for link to Part II: ffanzeen.blogspot.com/2007/12/co-interview-with-writer-musician-jd.html).
myspace.com/lifeunderwateronline

Manitoba’s Wild Kingdom – The Party Starts Now
When rhythm guitarist Top Ten left the Dictators, they broke up, but they couldn’t stay apart (yet). Handsome Dick Manitoba, Andy Shernoff and Ross the Boss (along with a new drummer) reformed into essentially a leaner, meaner Dictators. This song is a kick-ass rocker that equaled the ‘Tator’s material. The video is kinda cheesy in a rock-chick filled mess, but the song holds up. Yankees lovin’ HDM’s gum-chewing is a more funny than distracting, but the only sad thing about this song is more people know this video than any of the Dictators canon. Perhaps it’s the women wearing sports gear? Not sure, but this is solid fun anyway.
last.fm/music/Manitoba's+Wild+Kingdom


Slickee Boys – Going All the Way / Glendora
The Slickee Boys were one of those bands who deserved to get a lot further than then did, whether Martha Hull is singing with them or not. Mark Noone’s vocals are great on these songs, and Kim Kane (the tall thin guy) has such a great presence. The medley of these two songs are so good, that I had to add in another song that I love as much as the one’s here (I’ve seen them live a couple of times, once at CBGBs, and they are an amazing live band). “GAtW” has a strong driving melody and rhythm, and “G” is a hilarious cover (once sang by Perry Como, though the SB’s take is closer to the underrated Downliners Sect’s version). See two early renderings of this song after the blog) about falling in love with… naw, I won’t give it away.
myspace.com/slickeeboys

Bonus Video, just because it is so good:


Barbara Manning – Smiling
I only have one album by Manning, and it’s really decent lo-fi, high kitsch, in a way that twee artists like Adam Green have been trying to reach for years. Her voice is vague on melody, but so full of richness, it doesn’t matter. Just very simple and easy. (Note that I may have the name of the song wrong!)
myspace.com/Barbara Manning

Media Ecology Unplugged – Hands of Captain Ludd
MEU is acoustic songwriters John McDaid (taking lead here) and Bill Bly, who tend to sing, both directly and indirectly, about culture, technology, and politics. For example, “HoCL” is about the Luddites failed violent revolt against the rise of the industrial revolution. This dissonant chorded (hence tense) piece tells not only the story of one of Ludd’s followers, but a technological history of how machines have been used as a means of control (“When the Roman Empire fell the Church used the bell for a hell of a devious scheme / To summon their flock they invented the clock, they made time with their new machine”). MEU have songs that are hysterically funny and deadly serious. You can download all their songs free here: www.infomonger.com/meunplug/


SIDE TWO

The Cramps – Garbageman
“You ain’t no punk you punk!” starts off one of the great songs of the Cramps that came in their important transition period, between voodoobilly and garage-billy (i.e., post-“The Way I Walk” and pre-“Goo-Goo-Muck”), when they were arguably at their strongest. There are lots of driving rhythms and wild guitarwork around this drug seller tale, but it’s the great bon mots that come out of it that helps make this such a great take-away: “If you can’t dig me you can’t dig nothin’” Lux spits out. With fevered pitch, he repeatedly asks, “Do you understand?” The video was shot in less than an hour, and looks as good as many of the MTV-level ones from the period. (RIP Lux; RIP Bryan)


Joey Ramone – Stop Thinkin’ About It
Joey’s one and only solo album was full of songs of hope and promise, as he was battling the cancer that claimed him. “Nuthin’ lasts forever, and nothin’ stays the same,” Joey looks positively ahead. The song is slick without being overly so, in a non-Top-Ten kinda way; he certainly didn’t embarrass himself like the “Funky Guy.” Joey could have had a long career as a lone act, more so than the other bruthas, but was tragically cut short, just like the other bruthas. (RIP Joey)


Mary Lou Lord – Lights are Changing
MLL opened her 1995 EP with this Bevis Frond tune (backed up Juliana Hatfield). It sounds almost out of place with the rest of the release, with its high production value (the rest on the EP is simply her voice and guitar). That being said, the whole thing is amazing and I can listen to all the songs straight through (except the last cut, a cover of “Speedy Motorcycle,” a song I never cared for whoever did it). The video is a different version from a EP release, but it holds up as a great song nonetheless, using imagery of her history of subway busking in Boston. MLL is another who deserves a bigger shot (read my interview with her here: ffanzeen.blogspot.com/2008/10/mary-lou-lord-who-is-mary-lou-lord.html)
myspace.com/maryloulord


The Murmurs – You Suck
The Murmurs have a phenomenal and dedicated (mostly female) following. This song is just one of the reasons. From their sophomore release (before they became more rock based and then changed their name, eventually broke up both the band and their relationship). This song is one of their strongest, and one of two videos that were made off this album (the other is “Bad Mood”). People who have seen the video know it for the chorus “Right now there’s dust on my guitar you fuck / And it’s all your fault / You paralyze my mind / And for that you suck.” But there’s also redemption in the song that’s no less clear than in “I Will Survive.” The harmonies are sweet, the melody is memorable, and the tension just builds beautifully. I haven’t seen a video where the “f” word isn’t cut out, so here you go.
last.fm/music/The+Murmurs


Transparent – Anything (In 3)
In the heady Punk Temple days in Bensonhurst during the early 2000s, I saw Transparent play. They were one of the first bands to give me their (4-song) CD to review. From Providence, RI, the band had (I’m using past tense assuming they are not a viable as a unit as their Web site doesn’t exist) a strong sound. This particular song, which stood out during their live show as well, is a great grinding punk piece, with singer Keith Allen yelling out on the chorus, “And I would do anything / Just to keep you satisfied.” Pure romantic angst at its finest. Some bands may not last long, but they have the potential of releasing some excellent sounds, such as this one. Other members were Adam Riley (guitar), John Farley (rhythm guitar), Sweet Chris (bass), and Rich Bocchini (drums).

She Wolves – Hundred Bucks
There are different versions of this song by varied line-ups of this band (though two of the three have remained the same), all of which are worth a listen, but this one from the first EP is my favorite. Solid Ramones-influenced metal gnashing with Donna She Wolf screaming out “All I fuckin’ need now / Is a hundred bucks / it’s not for drugs!” The music is solid drive. This tune is short, simple, and relentless. Newer versions are more Ramones-metal than Ramones-punk, but it’s still just killer stuff. Check out the She Wolves’ (so far) masterpiece full sludge-crunch-metal CD, 13 Deadly Sins. While this type metal is not a genre I commonly listen to, the She Wolves are so amazing that it is one of the bands I truly miss being away from NYC. Big hugs Donna and Tony (and whoever is playing bass now).
shewolves.com (though their MySpace page seems to be more up-to-date).

John Otway – Beware of the Flowers Cos I’m Sure They’re Gonna Get You (Yeah)
John Otway is one of those guys who either you’ve never heard of or you just like. There is an amazing greatest hits collection that I listen to all the time. From the first time I heard him in the late ‘70s (when he had long hair) and had the opportunity to not only see him play a couple of times, not to mention interview him for my fanzine – thank you Janis Schacht - I knew he was worth a listen. He reminds me of a British Willie Alexander, but more in a more rock vein. Along with then-partner Wild Willy Barrett, he would tour around and just smash away, but with imaginative tunes and lyrics that were, well, John Otway written as only Otway could. Whether he’s writing about “Louisa on a Horse” (a song produced by Pete Townsend) or “God’s Camera,” he takes simple concepts and blows them up into a sing-along melody and words. There are so many wonderful songs he’s written or covered and made his own. And so, this is the big one, proper.
Johnotway.com


Morphine – You Look Like Rain
Actually, I find most of Morphine’s output to be pretentious and boring, but I really do like this song. It’s almost growled and could have been easily turned into a leer, but it’s more about desire than lust, and that’s to the singer Mark Sandman’s compliment. Morphine were trying to reinvent rock’n’roll, but ended up being some cross between rock and jazz, and, in my opinion, failed at both. But even artists who do not interest me in general may have a cut that I will enjoy. I’m usually open to find some nuggets. (RIP Mark)


Planet Smashers – Fabricated
Message to Gwen Stefani: this is ska, not the crap you produce (or ever had). Okay, the Planet Smashers are a ska band from Toronto, and from the first listen, it was solid Madness / Specials / Bad Manners, but even faster. As a student of Media Ecology, “Fabricated” spoke to that side of technopoly that Neil Postman and Jacques Ellul posited. The chorus states, “We are fabricated / we are regulated / We will fight to control the truth.” I don’t have much more to say about this, except give it a listen.
Planetsmashers.net


Waldos – Sorry
Do I really need to explain about Walter Lure? Is there anyone who reads this that needs more info on him? Well other than checking out the interview on this blog (ffanzeen.blogspot.com/2009/10/walter-lure-on-gross-state-of-art-part_27.html: the second part is on the same day in the blog). The Waldos still exist, and their Rent Party album is as fine piece of work all the way around as the Heartbreakers. In the song, Waldo kicks out a groupie who was expecting more (“Next thing that I know you’re making eggs and cheese / Next thing that I know you want to live with me / I gotta go, what can I say / Sorry you took it that way”). As with most of the cuts on the CD, this one is guitar-driven and chain-saw revs. The video is a more recent live version. (RIP Tony; RIP Richie)
myspace.com/walterlure


Washington Squares – D Train
Made up of an ex-New Wavers (Lauren Agnelli of Nervus Rex) and two ex-punkers (Tom Goodkind of U.S. Ape; Bruce Jay Paskow of the Invaders), the WS developed a beatnik look of wearing black (or black and white horizontal stripes), including sunglasses and turtlenecks, and sang both modern and traditional folk, but they did it with a sense of both respect and irony, playing the Civil Rights edge as a response to Reganomics. About half their songs were covers, the others original (all three contributed). This one touched a nerve, not just because it’s a rave-up. At the time, my pal Alan lived on the D line, so he could relate. Ironically, after some major subway construction, the D train was rerouted in Brooklyn (replacing the B) and became my train. But the song isn’t really about the subway, it’s about being stuck in a mundane job. Other WS videos are available, but not this one. (RIP Bruce)
www.washingtonsquares.com/

Linda Ronstadt – Close Your Eyes
As I’ve stated before (much to the chagrin of a reader), Linda’s country period of the early-to-mid-‘70s was her strongest (before she started trying to be more pop with covers of Buddy Holly and Motown). This James Taylor song is a strong example of why I believe that. It’s smoky and sensual, definitely Linda at her best.
lindaronstadt.com
Gotta go find it as embedding not permitted by these corporate suits: youtube.com/watch?v=5UVBXOCd_fc

Mystic Eyes – I Thought I Saw a Tear
Mystic Eyes – Share
I was relistening to their Our Time to Leave album when I was making this tape, and as I love these songs (actually, I like all the of the material on it), I added them on. “ITISAT” is typical Kugel pop; in other words, a marvel of songwriting, in this case fueled by Scott Davison’s rapid-fire drumming. But with “S,” bassist Craig Davison takes charge, writing / singing / playing just about everything in his then-home basement studio, proving that he is a Renaissance man with this strong kiss-off tune that has a hint of pathos (“Go to your cross-town love / You are now his alone / You’d rather share your love / Than to be mine alone”). Oh, and check out Craig’s blog at who-really-cares-anyway.blogspot.com (link is also on the right of his page).

Mason Williams – Classical Gas
This is one of my favorite instrumentals, period. I own a large collection of his works (both music and print), and the album this comes from, The Mason Williams Photograph Record, is one of my favorite records of all time (along with The Mason Williams Ear Show and Music). “Classical Gas” had a resurgence when it was used as the theme to the Bruce Willis / Michelle Pfeiffer ’99 film The Story of Us (redone by Eric Clapton; youtube.com/watch?v=bX9wE6TA80Q&feature=related), but I’ve been listening to it all along. This is a guitarist’s dream piece, and I’ve heard it played excellently by the likes of Glen Campbell (youtube.com/watch?v=YX6kCqgBffY) , Chet Atkins (youtube.com/watch?v=DRtvALWlKK4&feature=related), and Jim Stafford (youtube.com/watch?v=xdWXo-mMjZk). The video is a live version, but has the integrity.
masonwilliams-online.com/home.html


Bonus videos:

Ode to a Mixed Tape – Traditional Folk, 2001

Text © Robert Barry Francos
Images from the Internet

This tape was one I made as a traditional folk sampler. Rather than using the top-10 Peter Paul & Mary, Kingston Trio, (New) Christy Minstrels kind of thing (and I don’t believe I own any [N]CM), I went for the songs. Traditional folk music is largely based on a history of orality (unlike, say, classical or opera, which are literary), so the content is more fluid as it was passed down through time. That is why there is more than one version of many of the songs on the first side, to show different versions of essentially the same tune. The songs I chose range from early Madrigals through Americana and, of course, Woody (albeit indirectly). As always, I have tried to find videos where available, but folk music is not highly sought in a YouTube world. Even the images of the covers were hard to come by on many. Hopefully that will change. Some of the bands below are kind of obscure, most of them I bought in used stores from the Sally Ann (Salvation Army to you uninitiated), to used furniture stores, to garage sales. I will take my music as passed down, as well.

SIDE ONE

Smith Sisters – Sunnyside
These two songs are off the Bluebird album (all three of their releases are named in relation to aviary), on Flying Fish Records in 1984, which I picked up at Tower for $0.99. This song was most notably done earlier by the Carter Family way back when, though it had a resurgence after it appeared on the soundtrack of O! Brother Where Art Thou?. This version, which ends the album, is suitably cheerful, with Debi Smith’s yodel-style vocals focused and strong, yet playful, with sister Megan keeping up harmony as usual (i.e., very well). Their sound is a bit chirpy, so the album titles make sense. It’s a very warm version of the song.
Smith Sisters – Leatherwing Bat
This is a classic song, covered by just about everyone from the early ‘60s folk movement, such as PP&M. It takes different birds (there’s that association again), and uses them to look at relationships, such as infidelity, courtship, etc., to explain things such as the color of the birds. What’s interesting to me is that in this ‘80s retelling, they subtly adapt some of the wording, such as changing the meaning of bow from bow-and-arrow to hair ribbons. The original song is a little bitter, and they make it a bit more, er, modern.

Allen-Ward Trio – Leather Winged Bat
I picked up this 1965 self-titled album for $1.00 during the late ‘80s, at a used furniture store in Ontario. There is a sticker on the cover (on the plastic wrap) that says, “The #1 Folk Act From Canada.” As far as I know, this is their own release, which is a shame because they are amazingly good. Along with some originals (such as the truly beautiful “I Need a Friend,” hauntingly sung by Lynn Ward, supported by her brother Robin and Craig Allen). In their version of “LWB,” it starts off with a Celtic guitar lift that transforms into the flow of the melody of the song. They do the more classic version, filled with luscious three-part harmony.
Allen-Ward Trio – The Cuckoo
This is another traditional song that was widely covered during the ‘60s. It was totally rewritten in the ‘80s by NYC’s Washington Squares who use the chorus of “On the fourth day of July” and turn it into a U.S. political statement, rather than the original British one about poverty and the desire for beauty: “Oh the cuckoo is a pretty bird / And I wish she were mine / I would never give her water / I would only give her wine.” What’s interesting about the A-WT version is they do it a capella, relying only on three-part harmonies. They sound great together.
Allen-Ward Trio – No More Auction Block
Robin Ward takes the lead vocals in this (with Lynn and Craig backing up) powerful spiritual. Many times when a white group does spirituals, it has a sense of disingenuousness, but not here. Robin has a mournful tone that works with both passion and prayerful of freedom. I’ve heard other versions of this song, but this one remains my favorite.
Check out: thewhitsuntidesingers.blogspot.com/2009/04/my-favorite-folk-album-of-all-time.html

Ramblers Three – Charlottetown Is Burning Down
Don’t know what the hell I did with this record, but I can’t seem to find it on my shelf, nor much info on the net. Oh, well. The Ramblers Three are definitely in the mode of the Kingston Trio (there were a lot of them). This version of “Charlottetown” is a bit vanilla, but has some interesting harmonies. It’s a nicely-done sing-a-long chorus of a kiss-off to Liza-Jane.
Ramblers Three – Oh, Let Me Fly
In a similarly straightforward way, they cover this spiritual. It’s smooth and solid harmony in, again, Kingston Trio mode. It’s pretty rich even in its classic way.

Brown & Dana – Oh, Let Me Fly
These songs come from Garrett Brown and Al Dana’s album, It Was a Very Good Year,” on MGM in 1963. Their version of this spiritual is, as Joe Goldberg says in the liner notes, “One minute and 37 seconds of pure swing!” It does too. The arrangement is very upbeat and a totally different rhythm than the Ramblers Three, with a bop beat rather than a smooth folkie.
Brown & Dana – Sinner Man
This is another standard, but I have to say this is among my fave versions. The background laugh during the “Satan said Sinner man, come right in,” is a perfect touch. Songs that are rounds like this have a tendency to be a bit too circular and wearying (e.g., just about anyone’s version of “Where Have All the Flowers Gone?”), but this one remains interesting all the way through, even on repeated listening. There is an excitement level that comes through in the rhythmic strum and emotion they put behind it.

Steeleye Span – Cold, Haily, Rainy Night
Here are three cuts come from their 1971 Big Tree record, Please to See the King (their second release). As when I saw Steeleye Span play at the Bottom Line in NYC during the ‘80s, they have an interesting mix of olde English sound with electric instruments, giving these songs a cold, static-electricity feel that is sharp as a needle, an aural version of a metallic taste in the mouth; and yet, it works. Back in the Renaissance period, soldiers were sort of like rock stars, and were just as fickle. Here is a story of an innkeeper’s daughter who makes the mistake of “opening up her window,” and what becomes of it.
Steeleye Span – Jigs: Bryan O’Lynn/ The Hag with the Money
An instrumental mix of two different jigs with that same blue electric feel to them, this song is a fine mixture of the old and the new. Its use of sharp and flat notes with the electric guitar makes it sound as jolly as it does ominous.
Steeleye Span – The King
This song was reportedly (on their liner notes) sung by itinerants who brought a dead wren door to door just past Christmas, and asked for money to see “the king.” Because it’s done a capella, it has more of a madrigal (and nasal) tone that is more traditional than most of the other SS electrified material. It’s a beautiful piece (as is their electric stuff, as well).




Pete Seeger – Deportee
This cut is from Pete Seeger Sings Woody Guthrie, a 1967 Folkways release. It’s amusing to me how Pete has spent so much of his life singing the songs of Woody Guthrie, and now people are singing songs of and about him (e.g., Harry Chapin’s “Old Folkie”). Pete’s probably not long for this world, considering his age, but his music will last a lot longer. Even in this case where he sings one of Woody’s power songs, when people cover it, they do Pete doing Woody, rather than just Woody (though it should be noted that Woody penned the words, and Martin Hoffman wrote the tune). This song is based on a true event of a plane going down in Los Gatos Canyon where everyone was killed, but the news reports just referred to the people on the plane as deportees, not even bothering to publish the names. The song is long and simple, with Pete on vocal and banjo, but it is very powerful. While Pete should not be forgotten for his amazing music (even the minor point of changing “We Will Overcome” to “We Shall Overcome,” making the song so much stronger), he was a good interpreter of other’s songs as well. I was fortunate to see him play a couple of times in large settings, including singing with Arlo Guthrie and Bob Dylan in 1973 at the Friends of Chile Concert at the Felt Forum (which became the Theater at MSG) in NYC; I also got to stand next to him – he’s freakin’ tall, man – a couple of years ago in Central Park during a Toshi Regon soundcheck. There are lots of videos of this song on the ‘Net, just none of Pete doing it.

Sweet Honey in the Rock – Deportee
Ah, Sweet Honey in the Rock. They are magical on record and even more so live, and I’ve seen them four times (at Queens College, twice at Carnegie Hall, and their annual February children’s concert in the school across the street from Irving Plaza). Mostly a capella (with some minor instrumentation such as shakers), these women based in Washington, DC, have one of the deepest harmonies you are ever likely to hear. Their version of this song, from 1985’s, The Other Side, released on Flying Fish, is sung at almost a whisper, with a cry out here and there, but is still full of power. These use the echo to just the right level to make it haunting. Just gorgeous.

Len & Judy – The Land of Odin
This song is arguably “traditional,” and comes across as sort of psychedelic folk. Off the Folk Songs / Sweet & Bittersweet album on Prestige in 1965 (bought it for $1.00 at the same time as the Allen-Ward Trio, above), it discusses an island in the sky 10,000 miles high that is 10,000 miles long by 10,000 miles wide. Yeah, it’s kinda off-kilter. Siblings Len and Judy Novy have a sweet harmony, but this song has since become a bit tiresome for me. When I made this tape, I knew I was going to give a copy of it to someone of Norwegian heritage, and had just enough room at the end to add this one. Now I wish I had put a different song on, because L&J are fine, it’s the song that’s kind of lost its appeal to me.

SIDE TWO


Most of the songs on this side, with two exceptions, are either from two live compilations, Folk Era’s Live Sampler on Folk Era in 1988 (from earlier recordings), and Greatest Folksingers of the ‘Sixties a comp made “from the Vanguard folk catalogue” and “highlights of the Newport Folk Festivals” (got it at a Sally Ann for $7.99). This latter collection is from 1987 on Vanguard Records. The notation FE and GF will state from which it originates.

Northeast Winds – Martin Greigh
An Irish group from New England, the NEW is a foursome that has a really nice traditional sound, and lush harmonies. This is clearly shown in the song (pronounced “Martin Gray”), about a sailing family whose matriarch leaves to live inland, and the father, at some point, just takes off in the ship and doesn’t return (“Four boats in the harbor / Where’s the Martin Greigh / She was due to fetch the cutty lights / By 3 o’clock today / No sail on the horizon / No vessel by the cay…” I fell in love with song (and this version) the first time I heard it, especially on the penultimate chorus where they sing it a capella, thick with their Irish lilt (think the Beach Boys’ “Sloop John B”). [FE]

Judy Collins / Theodore Bikel – Greenland Whale Fisheries
There are two different versions of this song; one is where the captain of the ship is sorrowful for losing some of the crew, and the other where he is sadder about losing the whale than his men. This one falls to the latter, as Theodore Bikel, who does the harmony to Collin’s straightforward singing, states in one of his solo moments, “O the losing of these gallant men / It grieves my heart so / but the losing of this great sperm whale / It grieves me 10 times more.” Still, it’s a great, blustery, sad whaling song that has been covered umpteen times, but this live at the Newport version remains my fave one (the video is the same cut). [GF]


Figgy Duff – Yankee Clipper
For those who don’t know, as they apparently do not have a wide knowledge base, Figgy Duff is a folk band from New Foundland who, for a while (before the death of its founder), had an lush Celtic sound, as so many great groups from the Maritimes do (e.g., the Rankin Family). I first heard Figgy Duff on the CBC while driving to Ontario, and was blown away by them. I given the then-recently released Weather Out the Storm (nominated for a Juno award) in 1989 as a present. This cut is actually a medley of the song mixed with some jigs between stanzas. The core of the song is a married woman’s fling with the captain of said ship, and its implications. Definitely upbeat melody and the jigs are worked in quite smoothly.

Ian & Sylvia – You Were on My Mind
This Canadian duo had a few hits, most notably this and “Four Strong Winds,” though most Yanks know the We Five version (link to the video is below), which was on pop radio. This is more country than folk, I guess, but it’s a great song in the tradition. Ian went on to greater country fame as a solo, but they still perform together occasionally. I got this off their two-volume greatest hits package that is wonderful from beginning to end. It’s understandable why they are considered a national treasure up north.

Bonus: The We Five version: www.youtube.com/watch?v=29uNvGHsRlc

Odetta – John Henry
The late Odetta was a strong woman who sang of freedom, and was the forerunner of so many powerful women of color. I had the fortune to see her play at the Calgary Folk Festival a decade or so back, and even at that stage, she was a force to be reckoned with. Her version of the John Henry tall tale of man-vs.-machine is, as far as I’m concerned, the definitive one. She whoops at the right moments (when “John Henry whoops the steel on down”). This song, under her tutelage, builds to a climax of JH’s death of exhaustion by making the audience feel that drain, as she chugs the song with a steam engine rhythm. [GF]

Bob Gibson & Hamilton Camp – Well, Well, Well
Both are well-known folkies from the ‘60s, with Camp having a big hit in his native Canada with a cover of Dylan’s “Girl From the North County”; he was also a sit-com actor during the ‘70s, usually playing bizarre boyfriends (The Marry Tyler Moore Show in the famous “Toulouse Lautrec is my favorite artist” episode), or deranged bosses or dads of dates; you’d know him if you saw him. What I like especially about their coverage of this spiritual, other than (but including) the way their voices blend together so well, well, well, is that they sing it heartfelt, rather than trying to show how cool they are being white singing a spiritual. They have a Joe and Eddy kind of appeal to them. [GF]


Staple Singers – I Wish I Had Answered
The Staple Singers were definitely known for their gospel recordings, such as “I’ll Take You There” and the uplifiting “Respect Yourself.” This live song is solid R&B gospel at its finest, with hands clapping, and a cry for redemption. The song’s protagonist has an ever increasing fever through the song, and is now realizing, as his end is nigh, that he wished he had answered the Lord’s call sooner. What’s also great about the song is that some of the Staples get solos, such as Mavis, and show their gifts. It’s a fun song, with a message. [GF]

Flatt & Scruggs – Salty Dog Blues
Yeah, they were known for doing a little theme that starts off, “Lemme tell you all a story ‘bout a man named Jed…” However, the songs I like them for are “Foggy Mountain Breakdown” and this one. Bluegrass central, F&S knew not only how pick ‘em, they knew how to pick ‘em. Almost an answer to Mama Thornton’s “Hound Dog,” from the man’s perspective, but as a total rave-up. The clip below is short, but it sounds just like the recording on the CD. [GF]


The Weavers – Erie Canal
This is arguably the best known recording of the tape. It has that great tongue-twister line (sung by Pete), “We mighta gotten floundered on a chunk o’ Lackawanna coal.” The lyrics were pretty salty for the time, including drinking, hoisting of panties up the flagpole (“as a sig-a-n’l of distress”), and general partying on the boat (hence the almost floundering). Even after all these years, it still has a memorable, catchy chorus. [GF]


Clancy Brothers – Sweet Thames Flow Softly
A lovely ballad by those Irish lads, the Clancy Brothers, who in this case join with Robbie O’Connell, as opposed to Tommy Makem. It is a wistful remembrance of the girl the singer loves as they stood by the Thames River, with the lilt of the evening meeting the lilt of the brogue. Sort of an Irish version of “Sunday Will Never Be the Same,” I guess. If I had more room on the tape, I would have added the live versions of “Finnegan’s Wake” and their powerful “Risin’ of the Moon” from this CD. [FE]

Northeast Winds – Leaving of Liverpool
This is similar to “Sweet Thames,” but a bit more upbeat, as the singer / sailor is about to sail off to places unknown (“Tis not the leavin’ of Liverpool that grieves me / But my darlin’ when I think of thee”). NEW may have been from New England, but they had the Irish sound down so perfect (hardly surprising considering the large Irish population in that town). This is just a beautiful song full of expectant desire. [FE]

Northeast Winds – The Orange and the Green
I know the Irish Rovers are more famous for this song, but (a) I don’t have theirs, and (b) I really like this live version. For those who don’t know it, the song is about a man who grew up with a Catholic father and a Protestant mother (“And it is the biggest mix-up that you have ever seen / My father he was Orange and me mother she was Green”). It’s a funny, tragic-sorta, upbeat tune about difference in the culture clash. [FE]

Tommy Makem – The Whistling Gypsy
Tommy Makem made a notch in the folk idiom in the U.S. with this number. It’s a jolly, loving song about a father who chases his daughter who has run off with what he believes to be a Gypsy, but is in for a surprise. The song’s catchy “La-de-do La-de-do-da-day / La-de-do La-de-day-hee” chorus stays in the brain well past the song being done. The video is not the same version as the recording, but it is the correct artist from the right period of time, so there, deal with it. Don’t get me (non)-Irish up!