Tag: Moody Blues

Moody Blues, Dylan, the Boss, solo Fab

Smile Away

Bob_Dylan_-_Love_and_TheftIn response to my most recent Ask Roger Anything request – you can STILL ask! – TWO music questions.

My old buddy Kevin, who grew up in my area, but who I didn’t know until college, asked:
What are your favorite albums by 1) the Moody Blues, 2) Bob Dylan and 3) Bruce Springsteen?

The Moody Blues is easy. While I have a few albums on vinyl that I haven’t listened to in forever, I never got any on CD or as downloads, except for a greatest hits CD. So the only album I can remember without looking it up is Days Of Future Passed. And I liked it not just based on its themes of dayparts, but the fact that a 1967 album could generate a hit half a decade later. Nights In White Satin went to #103 pop in 1968, but to #2 pop for two weeks in 1972.

My first favorite Springsteen album was Born To Run, the album that got him on the cover of Time and Newsweek simultaneously. And Darkness On The Edge Of Town was a very strong follow-up. Born In The USA is, naturally a great album, but I heard it a bit too often in the 1980s.

I should note that c. 2000, my late brother-in-law John asked me what I wanted for Christmas or my birthday. I said any Springsteen CD prior to 1992, most of which I had on vinyl. He bought me Asbury Park, both Born albums, Darkness, and The River, the two-record set which I had never owned.

Around 2006, my sister Leslie bought me We Shall Overcome: The Seeger Sessions. Some great songs, done well. But many of them appear in the two-CD Live in Dublin that came out in 2007, and they’re even better.

Zimmerman

Considering the vast number of Dylan CDs I now own, it’s peculiar that I never bought a Bob album in the 1960s. It’s due in part to the fact that I had belonged to the Capitol Record Club in 1966/67, where I got the bulk of my Beatles LPs, not to mention albums by the Beach Boys, Lovin’ Spoonful, and others. Bob was on Columbia. The ONLY Dylan song I owned was from a cheap compilation album, The Best of ’66, which had I Want You.

In fact, the first Dylan album I purchased was for my high school girlfriend, the double album Self-Portrait, which came out in 1970. I wasn’t impressed, and I’m not even sure whether SHE liked it.

Eventually, I bought a few LPs – John Wesley Harding and Nashville Skyline. But it wasn’t until CDs came out that I started to backfill my Dylan collection: Highway 61 Revisited, Blonde On Blonde, and my favorite, Blood on the Tracks.

I had pre-ordered Love and Theft, which was to be released on September 11, 2001. After I left work early that day – we all did – I was riding my bike home and I went past the record store. I stopped, got the album, and stood around the store awhile as the television was recapitulating the awful news of the day.

I didn’t listen to the album for well over a week. But when I did, I LOVED it, especially the run that began with the third track, Summer Days. I played this album a lot, and it made me happy in a very sad time.

Solo Fabs

Julie, who I’ve known for a few years – I have a pic of her holding my daughter when L was a baby – wants to know:
 What is the best solo Beatles album?

Oh, my, I have been musing on this forever. Conventional Wisdom would put All Things Must Pass by George and Plastic Ono Band by John at the top of the list. These would be totally legitimate choices, especially ATMP, which proved that John and Paul underestimated their younger bandmate. I just watched Concert For George from 2002, and it reminded me just how much I loved Wah Wah.

Yet, and maybe it’s because I’ve listened to it recently, that I’m picking Paul’s (and Linda’s) Ram. Your folks would know that when it came out in 1971, it was savaged by much of the music press. Part of this was a function of the less-than-kind things John said about the album.

Really? Yes

As this 2021 review noted, “The record… saw the singer lay down a blueprint that would eventually help build some of the most notable genres around. You can trace everything from Britpop to pure jangle indie back to this record.” Too Many People, for instance, was a jab at John, much more subtle than John’s How Do You Sleep on his Imagine album.

From All Music: “In retrospect, it looks like nothing so much as the first indie-pop album, a record that celebrates small pleasures with big melodies, a record that’s guileless and unembarrassed to be cutesy. But McCartney never was quite the sap of his reputation… There’s some ripping rock and roll in the mock-apocalyptic goof Monkberry Moon Delight, the joyfully noisy Smile Away, where his feet can be smelled a mile away, and  Eat At Home, a rollicking, winking sex song.”

When I played it recently for the first time this century, I said, pretty much to myself, “Damn, I really LIKE this album!” And I remembered it amazingly well.

Oh, and I have a great affection for the Ringo album, which featured all four of them, not all at the same time. Do the Travelling Wilburys count as “solo”? Because I’d stick that first album in the mix.

Rock and Roll Hall of Fame snubs

On the subject of Musical Excellence, I restate my case for Billy Preston and a slew of the Wrecking Crew, starting with bassist Carol Kaye.

The Rock and Roll Hall of Fame announced the nominees for 2018:

Bon Jovi
Kate Bush – first time
The Cars
Depeche Mode
Dire Straits – first time
Eurythmics – first time
J. Geils Band
Judas Priest – first time
LL Cool J
MC5
The Meters
Moody Blues – first time
Radiohead – first time
Rage Against the Machine – first time
Rufus featuring Chaka Khan
Nina Simone – first time
Sister Rosetta Tharpe – first time
Link Wray
The Zombies
“To be eligible for nomination, an individual artist or band must have released its first commercial recording at least 25 years prior to the year of induction which means the 2018 nominees had to release their first official recording no later than 1992.”

Since we can vote for these folks, I cast my ballot for these:

The Moody Blues: #1 on Culture Sonar’s Top Ten Rock and Roll Hall of Fame Snubs. Commercial and critical cred, evolving in musical styles.

Nina Simone, the high priestess of soul – listen to Feeling Good

Two artists I think they should just plop into the Hall as early influencers are Sister Rosetta Tharpe, The Godmother of Rock & Roll, and Link Wray, the father of the power chord.

One band that should be in via the Musical Excellence route, and that’s the Meters, who defined New Orleans funk. And on the subject of Musical Excellence, I restate my case for Billy Preston and a slew of the Wrecking Crew, starting with bassist Carol Kaye.

Again, I’m pushing for Estelle Axton, the AX of STAX Records, as a non-performer. Her brother and business partner Jim Stewart has been there since 2002.

Chuck Miller made the case for Neil Sedaka; I’ll buy that, and would suggest that they include his longtime writing partner Howie Greenfield. Like Mann and Weil and Goffin and King, they were successful Brill Building creators.

If I knew the Meters, Tharpe, and Wray would get in another way, I probably would vote for Culture Sonar’s #9 pick The Cars, plus Dire Straits and Eurythmics.

I’m guessing that Bon Jovi, the Cars (high on the fan ballot in previous years) and the Moody Blues will make it.

High on my disappointed they weren’t even nominated:

Emerson Lake & Palmer – while I’d like to see King Crimson, Greg Lake’s previous band, go in first, I’d take whatever prog rock I could get

The Doobie Brothers- oddly enough, the death of Steely Dan’s Walter Becker has made me, even more, a fan of this choice. Only Becker and Walter Fagen are in the Hall, which means original Dan guitarist Jeff Baxter is not. Neither is Michael McDonald, who had a stellar solo career after singing and playing for Steely Dan then reviving the Doobies.

Warren Zevon – yes. a critical darling, whose songs were heavily covered.

Three Dog Night – yes, they didn’t write their own songs. But they made credible recordings covers of a wide range of artists, including musicians that people didn’t know at the time, including Harry Nilsson, Randy Newman, Elton John and John Hiatt. I really enjoyed their early stuff. And they had 21 consecutive Top 40 hits.

Music Throwback: Nights in White Satin

“It was a series of random thoughts and was quite autobiographical.”

Perusing my Across the Charts book of the Billboard charts of the 1960s, I noticed that the single Nights in White Satin by the Moody Blues only got up to #103 on the US charts in early 1968. This was the first single off their second album Days of Future Past.

The group changed greatly between its first album, The Magnificent Moodies from 1965, and the second, both in terms of musical style and personnel. Denny Laine, who sang lead vocals on the group’s first big hit, a cover of Go Now, is best known as later being a mainstay of Paul McCartney’s OTHER band, Wings.

From Songfacts:
“Nights in White Satin was written by Justin Hayward, who joined the band the previous year after Denny Laine left the group. He got the idea for the song after someone gave him a set of white satin sheets, and wrote it in his bed-sit at Bayswater. Haywood told the Daily Express Saturday magazine May 3, 2008: ‘I wrote our most famous song, Nights in White Satin when I was 19. It was a series of random thoughts and was quite autobiographical. It was a very emotional time as I was at the end of one big love affair and the start of another. A lot of that came out in the song.'”

From the Wikipedia:
“The album, plus two singles therefrom, Nights in White Satin and Tuesday Afternoon…, took time to find an audience. In the Moody Blues’ native Britain, the two singles from the album didn’t initially catch on; Nights in White Satin made only No. 19 on the British singles chart in early 1968, and Tuesday Afternoon didn’t chart at all.

“However, the British public learned to appreciate Nights in White Satin subsequently; it made No. 9 on the UK singles chart on re-issue in December 1972 and No. 14 on the charts on another reissue at the end of 1979, and is now regarded as the Moody Blues signature song by British audiences. In the US, Nights in White Satin did not make the Billboard Hot 100 in 1968, although it reached No. 2 on re-release in 1972; Tuesday Afternoon was more successful on initial release stateside, peaking at No. 24 on the Billboard Hot 100.”

I am fascinated that a song that was pretty much of a dud in one release can become a hit four years later. It was apparently music ahead of its time.

LISTEN to:

Tuesday Afternoon HERE

Nights in White Satin (single) HERE or HERE

Nights in White Satin (album cut) HERE

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