Category: Aeolian Cadences

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McCartney’s Worst?

He’s a genius, but this song is awful.

Don’t go jumping waterfalls
Please, keep to the lake
People who jump waterfalls
Sometimes can make mistakes
And I need love
Yeah, I need love
Like a second needs an hour
Like a raindrop needs a shower
Yeah, I need love
Every minute of the day
And it wouldn’t be the same
If you ever should decide to go away
And I need love
Yeah, I need love
Like a castle needs a tower
Like a garden needs a flower
Yeah, I need love
Every minute of the day
And it wouldn’t be the same
If you ever should decide to go away
Don’t go chasing polar bears
In the great unknown
Some big friendly polar bear
Might want to take you home
And I need love
Yeah, I need love
Like a second needs an hour
Like a raindrop needs a shower
Yeah, I need love
Every minute of the day
And it wouldn’t be the same
If you ever should decide to go away
Don’t run after motor cars
Please, stay on the side
Someone’s glossy motor car
Might take you for a ride
And I need love
Yeah, I need love
Like a castle needs a tower
Like a garden needs a flower
Yeah, I need love
Said I need love
Every minute of the day
And it wouldn’t be the same
If you ever should decide to go away
Don’t go jumping waterfalls
Please, keep to the lake

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Whoa Indeed

Paul McCartney + Todd Rundgren + Memphis = Van Duren.  Van made probably the best album from the ’77-’78 local power pop “scene.”  I use quotes because that “scene” consisted of three bands, a revolving cast of girfriends, about 20 midtown weirdos, and no clubs that would book those bands more than once.  So barely a scene at all.  Which is why everyone tried relocating, with varying degrees of failure.

Great song, although he might have overused the “whoas.”

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Damn It Janet

The video won’t embed (SO ANNOYING), but this is a pretty cool little time capsule moment.

To my knowledge this is the only full interview that Tim Curry gave about his part in the Rocky Horror Picture Show. Recorded during the week that the film was released in 1975, he talks about his roll in the film and whether or not he would play the part again! The Interviewer is Mark Caldwell and the Interview Director is Colin Grimshaw. Clips were provided by Fox-Rank. Fox has (June 2012) reviewed and released any copyright claim on the film footage appearing in this video. The interview was shot in black and white (the film is in colour)!

I always forget how much ass this soundtrack kicks. Mark and I were in a college cover band that played “Sweet Transvestite.”

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Weekend Viewing?

Available for streaming on Apple TV+ October 15.

The Velvet Underground created a new sound that changed the world of music, cementing its place as one of rock and roll’s most revered bands. Directed with the era’s avant-garde spirit by Todd Haynes, this kaleidoscopic oral history combines exclusive interviews with dazzling archival footage.

And this again, just because it kills me every time …

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Starchild and I

What do Paul Stanley and I have in common?  Chest hair?  Makeup?  Goofy stage banter?  Nope.  Not much, really, except for one formative event: at age 5, we were both pole-axed by Beethoven’s “Emperor” Concerto (Piano Concerto #5).  Here’s PS waxing eloquent on the subject:

I was absolutely god smacked. To know that music could have that kind of power, although I was so young, the music had such heroic qualities to it and mammoth chords. To this day it’s some of the heaviest and most glorious melodies ever. So that really was my introduction to the gravitas that music could have and how emotive it could be. So at the core of music for me is Beethoven.

As for me, it was the first piece of music I fell in love with when Col. Renfield brought home a copy and put it on the ol’ console.  The Beatles came a year or so later.

If you’re interested, there are many good recordings and a handful of great ones.  But to my ears, Rudolf Serkin owned this work.  Here he is with Leonard Bernstein and the NY Philharmonic competing with him for attention.  The winners are we, the listeners.

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Bill, Post Cowsills

https://youtu.be/JzDKWKY62So

Sickeningly talented dude. Bill Cowsill was in Blue Northern from 1977 until they broke up in 1982.

Cowsill moved from Calgary to Vancouver as of 1977, and became a fan of the local band Blue Northern. He began sitting in with the band on a regular basis, and not long after he became a member. In 1979, the group released Blue, a four-song, 12″ EP. Two of the songs were written by Cowsill, who also produced the record. The band’s self-titled album was released on Polydor Records in early 1981, and was co-produced by Cowsill. The band broke up in 1982, notwithstanding continuing public interest, as well as Juno Award and Canadian Country Music Award nominations.

The Blue Shadows was his band from 1992 to 1996.

In 1992, Cowsill became the co-lead singer, with Jeffrey Hatcher, of The Blue Shadows. Cowsill and Hatcher became known for their Everly Brothers-like harmonies. Cowsill regarded his association with The Blue Shadows as his most positive experience as a musician, to that point in his career. In 1993, The Blue Shadows were signed to Sony and released their debut album, On The Floor of Heaven receiving positive reviews. The group found itself at the forefront of a Canadian Alt.country movement. In 2005, Cowsill stated that he considered the title track to the album to be the best song he had ever written.

I’m down the rabbit hole …

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Don’t Make A Grown Man Cry

This video always makes me think of my childhood best friend’s little brother, who did a flawless Mick Jagger based entirely on the first 30 seconds.

Moreover, I will go to my grave insisting Tattoo You is a great album.