Posted in 1970s, Music

Happy 50th birthday, BOTW!

Image used solely to illustrate subject for purposes of an album review, and consistent with fair use doctrine

Released 26 January 1970, BOTW was Simon and Garfunkel’s fifth and final studio album, and was almost the next-last album I listened to in this lifetime. I played it the night before my August 2003 car accident, and when I was finally able to sit in a chair by my record player again, that was the first LP I put on the turntable.

Ever since then, hearing any of the songs can set something off in my psyche and give me a feeling akin to body memories, with my throat getting tighter. It’s not a PTSD trigger, but it brings back memories of those almost being among the final songs I ever heard.

S&G’s last album, Bookends, was released in April 1968, and recording for BOTW commenced in November. However, a long delay arose in January 1969—the filming of Catch-22, in which Art plays Nately. (This is a dreadful, dreadful movie, taking way too many liberties with the classic novel!)

When the duo got back to business in the studio, they had to decline a number of invitations, including Woodstock. Crafting their new album was top priority. In the end, they selected eleven songs. Several other songs, among them “Feuilles-O,” “Groundhog,” and “Cuba Si, Nixon No,” were left in the vault.

Track listing, with stars by the bonus tracks:

“Bridge Over Troubled Water” (#1 in the U.S., U.K., Canada, France, and New Zealand; #2 in Australia, Ireland, and Spain; #3 in Germany; #4 in Austria and South Africa; #5 in Switzerland and The Netherlands; #7 in Norway; #23 in Belgium)

“El Cóndor Pasa (If I Could)” (written by Peruvian commposer Daniel Alomía Robles in 1913) (#1 in Belgium, Australia, Austria, The Netherlands, Germany, Spain, and Switzerland; #6, #11, and #18 on different U.S. charts; #14 in New Zealand)

“Cecilia” (my third journal’s namesake song) (#1 in The Netherlands; #2 in Spain, Canada, and Germany; #3 in Belgium and Switzerland; #4, #31, and #1 on different U.S. charts; #6 in Australia and Austria; #9 in Belgium; #19 in Rhodesia)

“Keep the Customer Satisfied” (later covered by Gary Puckett as a solo artist)
“So Long, Frank Lloyd Wright” (not a fan of the overly long fadeout!)

“The Boxer” (#1 and #3 on different Canadian charts; #2 in Austria and The Netherlands; #3 in South Africa; #4 and #7 on different U.S. charts; #5 in Sweden; #6 in the U.K.; #7 in Ireland; #8 in Australia; #9 in New Zealand and Norway; #10 in Spain; #13 in Zimbabwe; #19 in West Germany)

“Baby Driver”
“The Only Living Boy in New York”
“Why Don’t You Write Me”
“Bye Bye Love” (cover of The Everly Brothers’ original)
“Song for the Asking”
“Feuilles-O” (demo)*
“Bridge Over Troubled Water” (demo take six)*

The album reached #1 in the U.S., the U.K., Canada, Australia, France, The Netherlands, Germany, Japan, Sweden, Spain, and Norway. In Italy, it was #4.

While I truly enjoy this album, I don’t rank it in the same territory as PSR&T and Bookends. It’s a little too hit and miss. A truly classic album shouldn’t have so much filler!

Besides the four singles, my favorite tracks are “The Only Living Boy in New York” and “Song for the Asking.”

I originally rated it 4.5 on my old Angelfire site, but now I’d honestly give it 4 stars.

Posted in 1970s, Music, The Who

Forty years ago in Cincinnati

Happy heavenly 101st birthday to Aleksandr Isayevich Solzhenitsyn!

One of the greatest tragedies in rock music history unfolded in Cincinnati on 3 December 1979, the day before I was supposed to have been born. Had I been born on schedule instead of two weeks later, the headlines on my birthdate would’ve been dominated by news of this preventable tragedy.

My favourite band, The Who, were in the final month of their 1979 world tour, which began on 2 May. They were then in their second U.S. leg of the tour. On 3 December, they played at Cincinnati’s Riverfront Coliseum (now Heritage Bank Center). Though the show wasn’t set to start till 8:00 PM, people began congregating outside as early as 1:30. Not just a few diehard fans, but a large crowd.

There were so many people so early because a radio station said festival seating ticket holders would be admitted at 3:00. Of the 18,348 tickets sold, 14,770 were for festival seating (first-come, first-served). Anyone could get a front-row seat if s/he were determined enough.

People expected every door to open simultaneously, but only a pair of doors on the far right to the main entryway opened on schedule. While some concertgoers entered those doors in an orderly fashion, the crowds in front of the other doors continued building.

By 6:30, the crowd had grown to an estimated 8,000. The doors weren’t set to open till 7:00, but many people mistook The Who’s soundcheck for the start of the actual concert. Additionally, it was only 36 degrees, and the windchill from the Ohio River made it feel even more frigid.

The concertgoers wanted in, and now.

People at the back of the line began pushing forward, but this was a short-lived panic (for the moment), as concertgoers quickly realised the doors weren’t open and the concert hadn’t begun. Then people at the head of the lines began pressing forward again and knocked on the doors.

Pandemonium broke out as the crowd heard the Quadrophenia film playing in lieu of an opening act. The mass of humanity began stampeding towards the doors, and many people were trampled, pressed along, swept off their feet, and/or asphyxiated. With only two of 106 doors open, there was nowhere to go but forward, relentlessly forward.

As people in the back continued pushing against the crowd and shouting, they had no way of knowing people in the front were piled up on the ground. Shamefully, the cops refused to do anything, even when begged for help. Some of the doors were guarded by cops with billy clubs.

By the time the so-called lucky ones found their way inside, the crowd was still piling up. People were shoved in through the turnstiles, and ticket-takers seemed to think nothing were amiss. Some people entered through the tops of the doors. Bodies, shoes, clothes, purses, and personal effects worth thousands of dollars were strewn everywhere.

The cops found the first body at 7:54, after about an hour and a half of this horrific stampede. They finally realised just how serious this situation was after the fire department, ambulances, TV crews, the mayor, the fire chief, the city safety director, the Flying Squad from the Academy of Medicine, more cops, and many other people arrived.

Mayor Ken Blackwell, who’d only started his job that day, decided the show must go on, for fear of a riot breaking out inside Riverfront Coliseum. The Who’s manager, Bill Curbishly, also feared a riot and a stampede back out through the plaza. Cincinnati’s fire marshal concurred.

Curbishly knew eleven people had died by the end of the show, and told The Who to be snappy with their encore. When he broke the news after the show, Roger burst into tears.

Many people had previously called out Riverfront Coliseum’s festival seating, which had caused prior stampedes and bottlenecking. Security and fire safety had also previously been found severely lacking. Additionally, there had been calls for gates opening directly into the stadium instead of 106 glass doors.

Mayor Vincent Cianci of Providence, Rhode Island cancelled The Who’s upcoming concert out of fear of more fatalities, despite the fact that the Providence Civic Center had assigned seating. In 2012, Pete and Roger finally returned to Providence and honoured those cancelled tickets.

Cincinnati and many other cities banned festival seating, though Cincinnati later brought it back.

The eleven victims were:

Walter Adams, Jr., age 22
Peter Bowes, age 18
Connie Sue Burns, age 21
Jacqueline Eckerle, age 15
David Heck, age 19, from Kentucky
Teva Rae Ladd, age 27
Karen Morrison, age 15
Stephan Preston, age 19
Philip Snyder, age 20
Bryan Wagner, age 17, from Kentucky
James Warmoth, age 21

May their memories be for an eternal blessing.

“Rock & Roll Tragedy: Why 11 Died at the Who’s Cincinnati Concert,” Chet Flippo, Rolling Stone, 24 January 1980

Posted in 1960s, Adicia, Ernestine, Girl/Deirdre, Music

WeWriWa—In loving memory of John

weekend_writing_warriorsveteransbadge_4

Welcome back to Weekend Writing Warriors and Snippet Sunday, weekly Sunday hops where writers share 8–10 sentences from a book or WIP. In honor of John Lennon’s 39th Jahrzeit (death anniversary), I’m taking a detour from my holiday-themed snippets.

This excerpt comes from Chapter 25, “Ernestine and Girl Are Beatlemaniacs,” of Little Ragdoll. It’s set over 9 February 1964, the day The Beatles first played Ed Sullivan. This is the first time young Ernestine Troy or her friends the Ryans (whose disinterested parents called them simply Girl, Boy, Baby, and Infant) have ever watched television.

The Ryans eventually take the names Deirdre, David, Fiona, and Aoife (EE-fa).

Ernestine thinks it’s pretty rude how the majority of the girls in the studio audience are screaming. Even if one really likes a band and is excited to see them perform, that’s no excuse for screaming nonstop. They’re probably making it hard for the band to hear themselves play, and are missing the entire show because all they’re doing is screaming.

During the next song, a cover of what Mrs. van Niftrik says is a Broadway tune, “Till There Was You,” there are closeups of each bandmember, providing each one’s name. Ernestine rolls her eyes when a caption appears under John’s name, saying, “Sorry girls, he’s married.” As though any of the girls in the audience or watching at home stand a chance of marrying someone that much older and that famous. She and Girl both think he’s the handsomest, married or not. The others are cute, but John has a more mature face, like a handsome adult man, not carrying the look of a cute, soft-faced boy into early adulthood. Girl also feels a special energy coming from him, an aura she has a very good feeling about.

Posted in 1960s, Music, The Monkees

Happy 50th birthday to The Monkees Present!

Image used solely to illustrate subject for the purposes of an album review, and consistent with Fair Use Doctrine

Released 1 October 1969, The Monkees Present was the band’s eighth studio album, and their last with Nez until 1996’s Justus. Peter had already left in late ’68. This album was their final attempt to regain popularity and commercial viability after the cancellation of their TV show.

Despite heavy promotion, the album only reached #100, and the two singles didn’t even make the Top 50. Shortly after release, Nez announced his plans to form a new band. Due to unfair stigma about The Monkees’ origins and poppier style of music, many people didn’t take Nez seriously, and The First National Band only lasted two years.

Originally, the plan was to release a double LP, with one side for each bandmember. After Peter left, that idea was no longer possible. The band’s plummeting popularity also compelled them into making a normal single LP.

Track listing, with stars by the bonus tracks:

“Little Girl” (Micky)
“Good Clean Fun” (Nez) (#83 in the U.S.; #26 in Australia)
“If I Knew” (Davy and Bill Chadwick)
“Bye Bye Baby Bye Bye” (Micky and Ric Klein)
“Never Tell a Woman Yes” (Nez)
“Looking for the Good Times” (written by Tommy Boyce and Bobby Hart; sung by Davy)
“Ladies Aid Society” (written by Boyce and Hart; sung by Davy)
“Listen to the Band” (Nez) (#63 in the U.S.; #15 in Australia)
“French Song” (written by Bill Chadwick; sung by Davy)
“Mommy and Daddy” (Micky)
“Oklahoma Backroom Dancer” (written by Michael Martin Murphey; sung by Nez)
“Pillow Time” (written by Janelle Scott and Matt Willis; sung by Micky)
“Calico Girlfriend Samba” (Nez)*
“The Good Earth” (short poem written by Ben Nisbet and delivered by Davy)*
“Listen to the Band” (alternate take)*
“Mommy and Daddy” (alternate take)*
Radio promo for the album (delivered by unknown person)

In 2013, the wonderful Rhino released a deluxe three-CD set with lots of bonus tracks, in addition to a vinyl 45 with two songs.

My favourite tracks are “Mommy and Daddy” (one of Micky’s most criminally underrated songs!), “Listen to the Band” (one of The Monkees’ signature songs), and “Ladies Aid Society.”

I really like this album. It’s my favourite of their two 1969 records, and shows yet again they were capable of so much more than easily-disposable teenypop. The Monkees evolved into a very mature, stylish sound, and produced some incredible records after their peak of popularity.

Posted in 1980s, 1990s, 2000s, holidays, Music

Happy Duran Duran Appreciation Day!—Celebrating my fave songs

To mark DDAD 2019, I decided to showcase ten of my favourite songs. One of the many reasons I’ve been a Duranie for almost eight and a half years is because of the wonderful lyrics. So many of their songs are like poetry.

1: “The Seventh Stranger,” last track on Seven and the Ragged Tiger (1983). Where to start! Every line is like pure poetry. I’ve used the line “like splinters of ice” in my own writing, and titled a chapter “Trading in His Shelter for Danger.”

2: “Secret Oktober,” B-side of “Union of the Snake” (1983). It’s like an avant-garde, surrealistic poem. I really want to use some of the lines as part of chapter titles.

3: “My Antarctica,” sixth track on Liberty (1991). While Liberty is one of the worst albums I’ve ever heard (even worse than Extra Texture), this is one of two standout gems. So romantic! I titled one chapter “Heat Beneath His Winter.”

4: “Lonely in Your Nightmare,” third track on Rio (1982). It’s so beautiful and romantic. I have a chapter entitled “Lonely in Their Nightmares,” and called the first part of a book “Angry in His Nightmare.”

5: “Perfect Day,” third track on Thank You (1995), an album of covers. This was originally a Lou Reed song, and one of the album’s standouts. It reached #28 in the U.K. Lou said, “I think Duran Duran’s version of ‘Perfect Day’ is possibly the best rerecording of a song of mine. I’m not sure that I sang it as well as Simon sang it. I think he sings it better than I. If I could’ve sung it the way he did, I would’ve. It wasn’t from lack of trying.”

6: “To the Shore,” fourth track on their eponymous début (1981). More beautiful surrealistic poetry! It’s a shame this lovely song was left off the U.S. repackaging of their first album, replaced with the single “Is There Something I Should Know?”

7: “Out of My Mind,” fourth track on Medazzaland (1997). The video is so deliciously macabre, making the lyrics even better and taking them in such a wonderfully dark direction. It reached #21 in the U.K. and #14 in Italy.

8: “Beautiful Colours,” recorded 2005 but not officially released on an album or as a single. I love the line “Life isn’t standard-issue, it’s customised.” I’ve used riffs on that line a number of times in my writing.

9: “Palomino,” seventh track on Big Thing (1988). Absolutely gorgeous, lush poetry!

10: “Come Undone,” sixth track on The Wedding Album (1993). Officially, it’s their second eponymous album, but just about everyone calls it The Wedding Album because of the cover art with photos of the bandmembers’ parents’ weddings. The song reached #2 in Canada, #6 in Italy, #7 in the U.S., #9 in Ireland, #13 in the U.K., #16 in New Zealand, #19 in Finland and Australia, and #42 in Belgium and Germany.

This was the song that flipped the switch and made me a Duranie on Valentine’s Day 2011. Someone named it as one of their most romantic songs, and I looked up the video and ended up watching it over and over. This song made me come undone!