Tag Archives: 1983

August 28, 2016 · 10:14 pm

Stop chasing the ghosts

Greenville show 2016

That really isn’t advice for you, though feel free to take it if so inclined.

It’s a reminder for me to do a better job of thinking through which shows to pop for, and why.

As this summer began, I had tickets for a Joan Jett/Lynyrd Skynyrd double bill at a big outdoor festival in July and a KISS show at the arena across town in August. Sounded great at first. Turned out differently.

I’d seen Joan Jett twice before. Each time, she was the headliner in a small venue. This time, she was the opening act at that outdoor festival. Different vibe. That’s her, somewhere on that tiny stage just to the left of center in the photo above. Those were my sight lines. You get the idea.

Not surprisingly, a crowd getting primed to see Skynyrd is not necessarily one that will warm to Joan Jett’s occasionally LGBTQ-friendly stylings. They roared for the first three songs and the last four songs — all the hits — then listened politely (as Wisconsin crowds are wont to do) to the 10 songs in the middle that they really didn’t know or dig.

Given that, and the realization that this Skynyrd show would not be better than two I’d already seen — Leon Wilkeson and Billy Powell were still alive and performing then —  I left after Jett’s show and before Skynyrd took the stage.

A month later, when it turned out that we were leaving for a trip at 4 a.m. on the morning after the KISS show, I started rethinking that one, too.

As with Skynyrd, I came to the realization that this KISS show would not be better than the one I saw 16 years ago, when all four original members were part of the, ahem, KISS Farewell Tour.

So I sold my ticket to a friend, who gave it to another friend, which is the best part of this story. The guy who wound up with the ticket is a huge KISS fan who had never seen KISS. By all accounts, he had a great time at the show. Which is cool. Which makes me feel better about it all.

Maybe it’s just karma. After all, this vaguely lost summer followed a tremendous spring in which we saw Bruce Springsteen, the Smithereens, Martha Davis and the Motels, Pat Benatar, David Lindley, the Alan Parsons Live Project and the James Hunter Six. Save for Benatar and Lindley, we’d never seen any of them.

When I did see Lindley for that second time, he played the one song I wanted to hear. A song he didn’t play the first time we saw him.

david lindley el rayo-x live lp

“Mercury Blues,” David Lindley and El Rayo-X, from “El Rayo Live,” 1983. Recorded live at Little Bavaria in Del Mar, California, on Friday, June 18, 1982.

After seeing Lindley in 2013, we eagerly got tickets to see him when he came around again last year. But we wound up moving my dad into assisted living that weekend, and we wound up eating those tickets. Perhaps getting to hear “Mercury Blues” this time was karma, too? Who knows?

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June 30, 2015 · 9:37 pm

I came in through the bathroom window

Hope Nobody's Watching

Do memories become any less tangible, any less vivid if there is no physical frame of reference for them? Particularly memories of a place where you’ve lived? I’m about to find out again.

First it was Beaver Lodge, where I lived with six other guys and an unending stream of house guests from the summer of 1978 to the spring of 1979, during my junior year of college in Eau Claire, Wisconsin. The place where Johnny’s Goat smashed through the garage door one day. It’s long gone.

Now it’s Hose and Tone’s old house. It’s being torn down to make room for a gas station, convenience store and other stuff. I never lived there, but I certainly lived it up there. We had a lot of fun at that little house on Green Bay’s east side.

1583 East Mason

My friends Hose and Tone, brothers, lived there in the early ’80s. It was all they — or we — really needed. Couch. Fridge. Small black-and-white TV. Stereo. You came in the back door, through the kitchen and dining room. The front porch was used only to buffer the sound from the four-lane street out front.

We were single guys in our mid-20s. We watched a lot of basketball, listened to a lot of tunes, drank a lot of beer.

One night, I climbed in the bathroom window at Hose and Tone’s house after we’d made the rounds of the neighborhood taverns. There were at least 10 blue-collar bars within five blocks. One of them was Bill and Tess’ (Mostly Tess’).

We didn’t need a designated driver. We walked.

One night, we got the munchies and poured chicken noodle soup over toast on a hot plate. Whether that followed window diving, none of us can remember.

There always was music. Hose and Tone liked Elvis. That’s when and where I started digging Elvis. That also was when MTV and “Night Flight” brought music videos to TV. Where else would we have heard “Ghost in the Machine,” or Flock of Seagulls or our particular faves, Flash and the Pan?

Or this, which might account for the photo above. We dug the song and the video, the latter for obvious reasons.

gap gold lp

“Party Train,” the Gap Band, 1983, from “Gap Gold: The Best of the Gap Band,” a 1985 compilation LP. Originally from “Gap Band V: Jammin’,” 1983. Both are apparently out of print, but the song is available digitally.

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September 20, 2014 · 12:55 pm

Kind of absurd, but great memories

goodmanauto.jpg

Hard to believe that Steve Goodman has been gone 30 years today. Leukemia.

Wasn’t it just yesterday that we met at the merch table after a show in Madison, Wisconsin? When he autographed my record to Joe, and not to Jeff? I still smile at that.

No, it’s been 31 years since he opened for fellow folk singer Leo Kottke at the old Madison Civic Center, a show I remember nothing about.

Kinda wondering what people remember of Steve Goodman today.

Probably most know him for the songs he wrote about his beloved Chicago Cubs. If you’ve visited here during the Christmas season, you know his charming live version of “Winter Wonderland” is one of our seasonal faves.

“It’s kind of absurd/when you don’t know the words/to sing/
walkin’ in a winter wonderland!”

I probably was introduced to Steve Goodman’s music in 1976 or 1977 by my friend Pat Houlihan, a folk singer from central Wisconsin who also introduced me to the music of John Prine, who was Goodman’s friend. I liked Goodman and Prine for the same reason. There’s a lot of humor in real life. They saw that, and wrote songs accordingly.

So let’s listen to some Steve Goodman. He wrote or co-wrote all but one song.

stevegoodman high and outside lp

“Men Who Love Women Who Love Men,” an irreverent but perceptive take on sexual identity.

“The One That Got Away,” a duet with Nicolette Larson on a song wistfully remembering life’s missed opportunities.

Both from “High And Outside,” Steve Goodman, 1979. His second-to-last major-label record, on Asylum. Goodman produced it, but the arrangements are almost too lush, too rich for his sometimes-thin voice.

stevegoodman artistic hair

“You Never Even Called Me By My Name,” a country music spoof co-written with John Prine, and a hit for David Allan Coe. Goodman improvised the final verse to include references to Mama, trains, trucks, prison and getting drunk, which Coe thought every great country song needs.

“City Of New Orleans,” which really launched Goodman’s career when it became a hit for Arlo Guthrie in 1972.

Both from “Artistic Hair,” Steve Goodman, 1983. A wonderful collection of live performances from over a 10-year period. I’m generally not big on live records, but this is really the only way to get the essence of Steve Goodman.

stevegoodman affordable art lp

“Souvenirs,” a duet with John Prine on the familiar song written by Prine and first heard on Prine’s second LP, “Diamonds In The Rough,” from 1972.

“Talk Backwards,” a goofy take full of double-speak.

Both from “Affordable Art,” Steve Goodman, 1984. This was the last record released before Goodman’s death. It’s out of print but is available digitally.

Thanks to Clay Eals, Goodman’s biographer, for the 30-year reminder.

Please visit our companion blog, The Midnight Tracker, for more vintage vinyl, one side at a time.

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December 24, 2013 · 6:05 am

I still want my MTV Christmas

Believe it or not, there was a time when artists made Christmas videos and MTV played them at Christmas time, just as radio would play their Christmas singles at Christmas time. ‘

“Christmas In Hollis” by Run-D.M.C. has become a Christmas tradition. You know that one.

So here are three that are less seen today, yet still among my favorites.

* * * * *

rnrxmascd

“Rock & Roll Christmas,” George Thorogood and the Destroyers, 1983, from “A Rock ‘n’ Roll Christmas,” 1995.

As you can see, it once was used to rock the house at MTV. Damn! Mark Goodman gets a nice long smooch from a cutie under the mistletoe at 1:55!

And, yes, that appears to be John Lee Hooker as Santa Claus. I once was skeptical, but my friend Larry pointed me to photos of Thorogood and Hooker taken by Bob Leafe at an MTV taping in 1984.

When I went looking for this video last year, it had been wiped from YouTube. Delighted to have it back.

* * * * *

rnrxmascd

“Christmas Is The Time To Say I Love You,” Billy Squier, 1981, also from “A Rock ‘n’ Roll Christmas,” 1995.

Squier was one of the biggest stars on MTV at the time, so a Christmas single seemed logical. And who could forget these lyrics: “From grownup to minor/No one could be finer” and “From rooftop to chimney/From Harlem to Bimini.” I know of no other Christmas song with “Bimini” in the lyrics.

Squier lip-syncs it with the MTV VJs and crew on the video. It’s a guilty pleasure, perhaps even corny, but it’s a good memory from that time. Of course, it revives the age-old debate: Nina Blackwood or Martha Quinn?

* * * * *

bandaiddotheyknowlp

“Do They Know It’s Christmas (single edit),” Band Aid, from the 12-inch single, 1984. It’s out of print but is available on “Now That’s What I Call Christmas,” a 2001 CD compilation, and digitally.

Before “We Are The World,” there was this. In 1984, everyone who was anyone on the UK music scene came together as Band Aid to sing “Do They Know It’s Christmas.” Bob Geldof wrote the words. Midge Ure wrote the music. The song, which benefited hunger relief in Ethiopia, was huge — a solid No. 1 in Britain and close to it in the States.

As you watch the video to see what all the fuss was about, see how many of those performers you can name.

Please visit our companion blog, The Midnight Tracker, for more vintage vinyl, one side at a time.

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December 13, 2012 · 11:29 am

A smaller Christmas, Day 13

In the mail this morning is a note from Clay Eals, who is Steve Goodman’s biographer. Clay’s note is long. They usually are.

So is his book on Goodman, the beloved Chicago folk singer. Clay is thorough. He would like to remind you that “Steve Goodman: Facing The Music,” now in its third printing, is available via his website.

But the best part of Clay’s note, albeit a bittersweet one, is word that Goodman’s mother, Minnette, died last week. She was 85. Dave Hoekstra of the Chicago Sun-Times wrote a wonderful tribute. She was a familiar sight at Chicago shows almost until her death.

“It wasn’t a gig if Minnette wasn’t there,” said the great folk singer John Prine, who was Steve Goodman’s best friend. She never missed a Jimmy Buffett show, either. When she went to last summer’s show, Buffett had her park her Honda Civic right next to his tour bus.

I met Steve Goodman in 1983, a year before he died of leukemia. He’d released a live solo acoustic album and was touring to support it. I bought that record after his show in Madison, Wisconsin. He signed it this way: “Joe — Hello, Steve Goodman.” That’s a story in itself.

That record, “Artistic Hair,” has another of our favorite Christmas songs on it. You never hear it. Then again, when was the last time you heard anything by Steve Goodman?

stevegoodmanarthaircd

“Winter Wonderland,” Steve Goodman, from “Artistic Hair,” 1983. It’s also available digitally.

In which Mr. Goodman takes a request from the audience, then realizes he’s not sure he knows the lyrics.

“You gonna feed me the words?” he asks.

It’s kind of absurd.

Your Christmas music requests in the comments, please.

Please visit our other blog, The Midnight Tracker, for more vintage vinyl, one side at a time.

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January 14, 2012 · 8:39 pm

Bonnie and Dave and the boys

After the passing of NRBQ drummer Tom Ardolino last week, I ripped some covers of NRBQ songs, then decided against using them in that post. It was getting plenty long as it was.

Let’s give them a listen, shall we?

NRBQ’s popularity among critics, fans and their peers peaked as the ’70s started to turn toward the ’80s. During that time, NRBQ released three albums widely regarded as among their best: “At Yankee Stadium” in 1978, “Kick Me Hard” in 1979 and “Tiddly Winks” in 1980.

Bonnie Raitt noticed. Disappointed at how her 1979 LP, “The Glow” was received, she decided have a little fun with her next record. She rocked out on “Green Light,” released in 1982. Who better to have fun with than NRBQ? So she covered two of their songs.

“Me And The Boys” and “Green Lights,” Bonnie Raitt, from “Green Light,” 1982. It’s out of print but is available digitally.

Dave Edmunds noticed, too. He picked a bunch of covers for “D.E. 7th,” his first record after the breakup of Rockpile. One was an unreleased Bruce Springsteen song. There also were covers of Chuck Berry, Brian Hyland and Doug Kershaw. And an NRBQ cover, one also chosen by Bonnie Raitt.

“Me And The Boys,” Dave Edmunds, from “D.E. 7th,” 1982. The buy link is to a double-length CD that also includes the “Information” LP from 1983.

Edmunds kept some of that spirit on his next record, “Information,” in 1983. Though most remembered for Jeff Lynne’s production and songs, Edmunds still worked in covers of songs by the J. Geils Band, Moon Martin and Otis Blackwell. And one by NRBQ.

“I Want You Bad,” Dave Edmunds, from “Information,” 1983. The buy link is to the same double-length CD mentioned earlier.

See how they compare to the originals.

“Green Lights” and “I Want You Bad,” NRBQ, from “At Yankee Stadium,” 1978.

“Green Lights” written by Terry Adams and Joey Spampinato.

“I Want You Bad” written by Terry Adams and Phil Crandon.

“Me And The Boys,” NRBQ, from “Tiddly Winks,” 1980. It’s out of print. The song is available digitally. It’s part of “The Rounder Records Story,” a 4-CD, 87-song set released in 2010.

“Me And The Boys” written by Terry Adams.

At this point, I must state for the record — so to speak — that both the Bonnie Raitt record and the NRBQ records were brought to the party by the lovely Janet, who at the time was my girlfriend and who somehow decided to stick around and become my wife.

Now if I could only find our copy of “Tiddly Winks.” We used to have it, and I can’t imagine we let it go in either the Great Record Purge of 1989 or our Great Garage Sale of 2006. If so, that’s another story for another day.

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June 19, 2011 · 7:24 pm

Who’ll follow the Big Man?

Louis Jordan … King Curtis … Sam Butera … Clarence Clemons … all gone.

No one takes their place, but someone must follow.

Who’s the most influential rock ‘n’ roll and R&B sax player out there now? I’ll go with Maceo Parker, but no one else leaps to mind. (And at 68, Parker is just a year younger than Clemons.)

I confessed here long ago that I’ve never been much of a Springsteen fan. That said, I’ve always loved horns, and especially the Big Man’s tenor sax.

One of my favorite albums from the ’80s is Clarence Clemons’ first LP.

In 1983, with Springsteen and the E Street Band between albums and tours, Clemons put together a group on the side. Clarence Clemons and the Red Bank Rockers — named for Red Bank, New Jersey, where Clemons briefly owned a club in the early ’80s — put out one record.

I dug it out last fall and wrote about it on my other blog, The Midnight Tracker.

“Rescue” is full of spirited, blue-collar R&B and rock, the kind you’d hear from a bar band. Which is exactly what the Red Bank Rockers appeared to be, albeit with one well-known sax player.

“A Man In Love” and “Resurrection Shuffle,” Clarence Clemons and the Red Bank Rockers, from “Rescue,” 1983. It’s said to be available on a two-fer CD along with “Hero,” his 1985 solo debut, but it’s hard to find.

The first song is co-written by Clemons and Desmond Child, who at the time was just getting started on his remarkable songwriting career. Keyboard player and producer Ralph Schuckett and Terry Abramson also are credited as co-writers.

The second, of course, is a cover of the old Ashton, Gardner and Dyke song from 1971. This cover alone may be why I bought this record.

The vocals on both are by John “J.T.” Bowen, whose hard-luck story we shared over at The Midnight Tracker.

“Peter Gunn Theme,” Clarence Clemons, from the “Porky’s Revenge” soundtrack, 1985. It’s out of print.

You always wanted to hear this one played by the Big Man, didn’t you? The credits aren’t specific, but I believe he’s backed by Dave Edmunds on guitar.

Finally, there is this …

This song popped up on shuffle earlier today. I immediately got the sense of being at church and hearing the tenor sax preaching a tribute to the Big Man. That is Andrew Love of the Mar-Keys on the tenor sax.

“Let It Be,” the Mar-Keys, 1971, from “Stax Does The Beatles,” 2007. It originally was on “Memphis Experience,” their last Stax LP (available on this two-fer CD with the “Damifiknow!” LP from 1969). I have this tune on “Beatlemania, Volume 2,” a Mojo magazine compilation CD from September 2004.

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