Well, I recently finished watching The Beatles – Get Back documentary. And I was finally able to find some time to jot down my somewhat lengthy, random, personal thoughts and observations about it.
First, I think that any discussion of the Get Back documentary needs to start with the acknowledgement and understanding that (1) The Beatles were intent on showing these sessions in a more positive light than was shown in the original Let It Be film, and (2) all of the content contained in the documentary was apparently vetted and approved by the Beatles (Paul & Ringo, along with Yoko and Olivia) in advance. I note this because I have seen certain discussions in various forums pronounce that some “Beatle myths and assumptions” surrounding the Get Back/Let It Be sessions have either been debunked or should be declared incorrect as a result of what was shown in the Get Back documentary. But, I think it is important that one consider the deliberate process by which Get Back came to light when evaluating these kinds of judgments and pronouncements. And I also think that like most things in life, the truth often lies somewhere in between two sides of a given narrative.
The Documentary.
Overall, I think Peter Jackson did a masterful job of arranging and creating an ordered narrative out of the often chaotic, and at times directionless, Get Back/Let It Be sessions. I think his effort to more succinctly frame and present the documentary as a race to an end goal of a performance/concert on a date certain, in comparison to Michael Lindsay Hogg’s original Let It Be film, was brilliant. Although the first episode often bordered on tedium at times, especially if one isn’t an absolute Beatles junkie, overall I think there was a much more distinct plot and purpose in the Get Back documentary than there was in the Let It Be film. I also particularly liked that Get Back was presented in a brighter and more colorful filming presentation than the original Let It Be film. I think the Let It Be film was terribly dark and depressing at times. And I believe the blame for that can be laid primarily at the feet of Michael Lindsay Hogg. I suppose every decent film needs an antagonist or villain, and for me, MLH surely claims that role. Every time he appeared in the documentary, he made my skin crawl. He appeared to be self-centered, and to consistently put his personal interests ahead of his client’s interests, which annoyed me to no end. Overall, I think that Get Back is a far more pleasant viewing and listening experience than the original Let It Be film is.
As for the main protagonists:
JOHN LENNON:
Let me just start by saying that heroin is an awful drug. In the first episode, it is abundantly clear that John (and Yoko) were strongly under the influence of that drug, and not in a good way (if there is such a thing). In the initial episode, John appears disengaged, unfocused and unkempt. Thankfully, his demeanor and appearance improves significantly in the second and third episodes, but for me, never quite enough to overcome the drug’s negative affects on him. I cannot help but wonder what might have been had John not been so inhibited by his vice of choice at the time. I also will never understand exactly why he and Yoko felt the need to be so completely attached to one another like conjoined twins. I certainly understand and appreciate two people being madly in love, but being glued to someone 24/7, especially while one of the persons is supposed to be working in a group, seemed unnatural and bordered on creepy to me. I mean Paul and Linda were also new love birds at the same time, and yet they exhibited none of that type of behavior. Linda appeared at the sessions, but maintained her distance, and she and Paul appear to respect each others space, and Paul’s obligation to his bandmates. Some will likely disagree with my depiction of that behavior, but that’s how it felt to me. I appreciate that the other 3 Beatles appear to accept and tolerate John and Yoko’s arrangement at the sessions (at least as it appears in the documentary), but I think that there probably were underlying tensions within the group that may have been suppressed or omitted from the Get Back documentary. As I said earlier, the truth probably lies somewhere in between. Finally, as to John’s song output and contributions during the sessions, I feel they would have to be regarded overall as somewhat weak. Don’t Let Me Down was quite good. Dig A Pony was good. But there really wasn’t a whole lot of other complete contributions of substance. One After 909 was originally written by John and Paul around 1960, and was first recorded back in 1963 (but not used at that time), and was resurrected and reworked for these sessions. John’s contribution to I’ve Got a Feeling worked well with Paul’s part. Other than that, there were only fragments of his other tunes that would be worked on, some of which would find their way onto Abbey Road where they would blossom. But during these sessions his production appeared hampered by a notable vice.
PAUL McCARTNEY:
I will start by saying Paul is a genius. But (there is always a but, isn’t there), that genius at times bordered on obsessive, dictatorial control and overbearingness. His ability to understand and construct a song, its tempo, the instrumentation and composition is perhaps unmatched in rock by almost anyone. I particularly like how he stood up to Michael Lindsay Hogg and even gave him a bit of a dressing down at times. As I said earlier, I generally think MLH is a douche, so it was nice to see Paul stand up to him. Despite Paul’s tendency to be overbearing and somewhat self-centered (he never hesitates to pivot to one of his tunes when he can or to dictate to one of his bandmates how to play), I must say that he is to be commended when it comes to involving and immersing himself in one of the other member’s tunes (once he commits to it). He appeared to put his full effort and attention into working on whatever tune eventually became the focus of a take to try to make it better. Although he appeared at times to be more reticent to work on George’s songs than John initially did, once work began on George’s tunes, it seemed to me that Paul was more willing to put in a greater effort on those tunes (such as Old Brown Shoe) than John did (although in fairness, John seemed to improve in that area as the session rolled on, just like his overall attitude and demeanor seemed to improve). But watching Paul spontaneously come up with Get Back on the spot was a real “holy sh!t” moment in the documentary, and it just reinforced the notion that Paul is an extremely talented individual. Paul definitely appeared to be the grownup in the room much of the time. But, it also often appeared to me that he kind of assumed The Beatles were his backing band, for him to use to primarily work on his tunes. 3 number one songs came out of these sessions – Get Back, Let It Be and The Long And Winding Road – all Paul tunes (astonishing when you think about it). But (again with the but), for every Get Back or Let It Be, there was a Teddy Boy or Maxwell’s Silver Hammer that he would awkwardly force on his bandmates. But overall, Paul was a force to be reckoned with, and as John Lennon once said, he’s a special talent.
GEORGE HARRISON:
There is no doubt in my mind that George Harrison no longer wanted to be a Beatle or a “Fab” during these sessions. Having recently returned to England from the United States after spending Thanksgiving 1968 with Dylan (and the Band) in Woodstock, NY, I believe George had come to the conclusion that being a member of the group was no longer working for him. It seems apparent to me that George had grown weary of not being taken seriously as an equal by John and Paul, especially after the treatment that Dylan afforded him in Woodstock. George appears tired of fighting John, and probably more so Paul, to be taken as a serious creative force who warranted a greater allocation of tunes on their LPs. At one point in the documentary, George talks to John and Yoko about issuing a solo album and he remarks something to the effect that given his current allotment of songs on Beatle records, he has enough material to cover the next 10 or 15 or 20 Beatle releases (I don’t remember the exact number he stated). And in several points in the documentary, John is blatantly rude and dismissive of George’s suggested contributions (I Me Mine in particular). I am also fairly certain that it was George who had the best relationship with Billy Preston and suggested he join the sessions. That would be consistent with George’s prior strategy during the White Album recording sessions of having a guest join the band. During the White Album sessions, George brought Eric Clapton into the sessions to work on While My Guitar Gently Weeps. I recall George stating that by bringing in a “guest”, he felt it would cause John and Paul to modify their behavior when working on George’s tunes. It seems that toward the end of the group’s existence, George often looked for an additional counterbalance to combat the John and Paul tag team in an effort to level the playing field a bit. It seems apparent that George was growing tired of the Herculean efforts he needed to take to be treated as an equal. During the documentary, I see George coming to the realization that his vision of who he is, and what he wants to be, is no longer consistent with that of the others. Plus, one must remember that during these sessions George was still only 25 years old (his 26th birthday being about a month away). Pretty remarkable accomplishments for a person that age. He was really just starting to come into his own at that point. While it seems like John is also very close to moving on from the Beatles during these sessions, it seems to me that George is even more determined to do so. So, while it is often Yoko who shoulders much of the blame for the band’s break up, George may actually be the most responsible, or at least as equally responsible as John, for the inevitable break up of the band. Yoko might actually come in third (or 4th behind Paul) in that race.
RICHARD STARKEY (RINGO STARR):
First random thought – it appears that Ringo really enjoyed being stoned. And if he wasn’t actually high all the time, he certainty looked like he was high all the time (but George and Paul weren’t far behind). One thing the documentary showed and reinforced is that Ringo is absolutely one of the nicest, most lovable, likable, decent human beings on the planet. Who doesn’t like Ringo? And Ringo was the ultimate diplomat – The Switzerland of The Beatle planet. His ability to remain close to the others and maintain their confidences seemed critical to their ability to continue to function as a unit. His ability to sit through all the bickering and aimless meandering and perform like the true professional is heroic. And while George was generally known as the quiet Beatle, it appears Ringo may have stolen that title from him during these sessions. Ringo also had a great sense of humor, and one of the funniest scenes in the documentary is when Ringo is sitting amongst a group of people and he casually announces “I farted”. Too funny. Ringo (along with Mal Evans) is severely under appreciated for all he contributed to the overall group experience. I also loved when the group was asked if they wanted to play live (or who wants to go up on the roof), and Ringo is quickly the first one to chime in and say “me”. Thank you Ringo. But it doesn’t surprise me, because he is such a professional. His playing is so wonderfully enjoyable and great. It seems to me that by this time, Ringo was the common thread that generally held the Beatle quilt together. I think Ringo added so much to their sound and I believe they were very lucky to have him in the group.
BILLY PRESTON:
What a talent. He added so much to the sessions. It’s almost impossible to imagine what the result would have been had he not been included. Billy appeared to jump start both John and George at the sessions after he showed up. He lit up the whole studio and his playing elevated the entire band. He was a perfect fit at just the right time. Billy and George would go on to have a very close relationship for years after these sessions. The documentary got noticeably more interesting and enjoyable once Billy took a seat at the Fender Rhodes. Thanks Billy, we all appreciate your efforts and contributions.
Final thoughts:
It seems readily apparent to me that most, if not all, of the members were ready to move on to other things by this point. George and John very much so, Ringo perhaps ambivalently, and Paul reluctantly but ultimately sensing the inevitability of the end of the group. But perhaps the most surprising aspect of the documentary, especially in light of all the historic commentary and myths that surround these sessions, which generally portrays a group coming apart, was just how incredibly tight and close the four Beatles remained even during trying times such as this one. And the most important point of the documentary to me, is that when their backs were up against the wall, they each rose to the occasion and delivered as a team like few others could. I’m so glad Peter Jackson took the time and effort to give us Beatle fans this gift. It was a wonderful audio/visual experience. And I thoroughly enjoyed it.
Being a Beatles fanatic, I decided to explore many of the cover versions of The Beatles’ songs and attempt to highlight some of what I consider to be the best efforts among them. In determining what I consider to be a “best effort” version, my primary criteria was based on originality or uniqueness (how well the artist made the song their own) and musicianship (interesting, quality performance).
I did not include much background information on the songs, as I wanted the songs to speak for themselves. I also didn’t include some of the well known versions, such as Joe Cocker’s version of With A Little Help From My Friends. These versions are generally deeper dives into some of the covers of Beatles tunes.
With that brief background, let’s take a look at the songs that met the criteria for inclusion. The songs are in no particular order (well, maybe alphabetical, but there is no attempt or intent to rank them or compare them to one another).
1. Gabrielle Alpin – There’s A Place (2013)
Really nice rendition from the BBC Program commemorating the 50th anniversary of the Beatles’ debut album Please Please Me.
2. B-52s – Paperback Writer (2004)
Recorded for a Buick TV commercial.
3. Bela Fleck & The Flecktones – Oh! Darling (1996)
Superlative musicianship as always and featuring John Cowan on vocals.
4. Rubén Blades – Baby’s in Black (1999)
Beautiful, Latin flavored version of a rarely covered Beatles tune.
5. Booker T. & The MGs – Michelle (1969)
The great musicians give this Beatles tune the soulful sound of Memphis treatment.
6. Bobby Bryant – Happiness Is A Warm Gun (1969)
A nice jazzy big band style treatment of the Lennon composition.
7. Glen Campbell – Ticket To Ride (1965)
The Wrecking Crew member shows off his skillful guitar playing.
8. The Dillards – I’ve Just Seen A Face (1968)
The Dillards (everyone’s favorite bluegrass ensemble from the Andy Griffith Show) demonstrate that this tune is perfectly suited as a bluegrass number.
9. Fats Domino – Everybody’s Got Something To Hide Except Me And My Monkey (1969)
John Lennon was delighted that Fats Domino, one of his rock ‘n’ roll heroes, made a rollicking cover version of this song.
https://www.youtube.com/watch?v=TNeSJVUxOkc
10. Tanya Donelly – Long Long Long (2006)
An absolutely fantastic cover of one of my very favorite George Harrison songs.
11. Andy Fairweather-Low – Rocky Racoon (1976)
The former lead singer of Amen Corner turns in a very nice version of the country flavored tune from the White Album.
12. Fanny – Hey Bulldog (1972)
The all-female band turns in a rockin’ cover of this Beatles’ tune.
13. Jose Feliciano – A Day In The Life (1969)
A fabulous rendition from the London Palladium in 1969.
14. Ella Fitzgerald – Savoy Truffle (1969)
Ella providing her patented swing to the George Harrison tune.
15. Vince Guaraldi & Bola Sete – I’m A Loser (1966)
Vince makes this song his own with a melancholy latin-infused flavor.
16. Henhouse Prowlers – Helter Skelter
A wonderful, redneck version of the Beatles heavy metal-esque tune.
17. Isaac Hayes – Something (1970)
Is this one as great as one would expect? Damn right! Shut your mouth.
18. Eddie Hazel – I Want You (She’s So Heavy) (1977)
Few guitarists can match what Eddie Hazel can produce. This track is a prime example of his greatness.
19. The Heptones – Ob-La-Di, Ob-La-Da (1969)
Paul wanted a reggae flavor on this tune, and The Heptones provide the authentic recipe to the song.
20. The Hour Glass – Norwegian Wood (This Bird Has Flown) (1968)
Duane Allman…on electric sitar…that is all.
21. The Ides Of March – Symphony For Eleanor (Eleanor Rigby) (1970)
Some may remember The Ides Of March for their hit song “Vehicle”. they give a unique, psychedelic treatment to this Beatles classic.
22. Syl Johnson – Come Together (1970)
Syl provides the full funk treatment to the lead tune from Abbey Road.
23. Laurence Juber – While My Guitar Gently Weeps (2000)
The former member of Wings delivers one of the most unique and tasteful versions of the George Harrison penned classic.
24. Alison Krauss – I Will (1995)
This song appears tailored made for the sultry vocals of Alison Krauss. She elevates the simple melody in ways few could achieve.
25. Les Boréades de Montréal (Arr. by Eric Milnes)– Why Don’t We Do It In The Road (2006)
A classical flavored version of the song John Lennon once said was his favorite Paul McCartney composition.
26. Men Without Hats – I Am The Walrus (1991)
Yes, the band that brought you The Safety Dance song, turn in an absolutely terrific version of the Lennon penned classic from Magical Mystery Tour.
27. Monsoon – Tomorrow Never Knows (1983)
Many groups have covered this Lennon tour de force, but few have succeeded in delivering the goods like Monsoon have on this one.
28. Harry Nilsson – You Can’t Do That (1967)
John Lennon loved this version of this song and was part of the impetus of him becoming friends with Harry. Here are all the other Beatle tune references in order of their appearance: 1) She’s A Woman 2) I’m Down 3) Drive My Car 4) You Can’t Do That 5) You’re Gonna Lose That Girl 6) Good Day Sunshine 7) A Hard Day’s Night 8) Rain 9) I Wanna Hold Your Hand 10) Day Tripper 11) Paperback Writer 12) Do You Wanna Know a Secret 13) Girl 14) Norwegian Wood 15) Yesterday and 16) Strawberry Fields Forever.
29. Oz One – Love Me Do (2012)
A very cool Jazz and Ska based version of the Beatles first single.
30. The Skatalites – This Boy (Ringo’s Theme) (1997)
A Ska version of “Ringo’s Theme” from A Hard Day’s Night.
31. Patti Smith – Within You Without You (2007)
Patti delivers an incredible version of George’s masterpiece from Sgt. Pepper. She is true to Harrison’s concept and philosophy and she graces his profound song with her magic. Bravo!
32. Phoebe Snow – Don’t Let Me Down (1976)
This is another perfect example of making someone else’s song one’s own. Phoebe has an incredible voice and she turns in one of the best covers of any Beatles tune.
33. Yukihiro Takahashi – It’s All Too Much (1983)
The man who is best known internationally as the drummer and lead vocalist of the Yellow Magic Orchestra, turns in a great rendition of George Harrison’s psychedelic fueled song from the Yellow Submarine soundtrack.
34. Peter Tosh – Here Comes The Sun (1970)
One of the best, if not the best, cover version of a Beatles song. It’s as if the song was intended to be a reggae tune.
35. Ralph Towner – Here, There And Everywhere (1993)
This is another great example of transforming a song into something unique and different. Beautiful version.
36. McCoy Tyner – She’s Leaving Home (1995)
The great pianist elevates this number, transforming it into a beautiful waltz.
37. Stevie Ray Vaugh & Double Trouble – Taxman (1986)
As one of the folks said in the comments to the Youtube video, Music snobs: Don’t cover the Beatles! You can’t do anything to add to it. Stevie Ray: Hand me my Strat and hold my beer.
38. Eddie Vedder – You’ve Got To Hide Your Love Away (2002)
Even though Eddie’s version is similar to the original, he puts his heart and soul into it in such a forceful manner. And his scratchy vocals are perfectly suited for this one.
39. The Wailers – And I Love Her (1965)
Marley, Tosh and Bunny give us a wonderful, unique, reggae interpretation of the Paul McCartney penned love song.
40. Bill Withers – Let It Be (1971)
Bill Withers delivers a powerful, soulful version of the Beatles classic. An amazing talent, he delivers a uniquely soulful rendition.
3 Eccentric Beatles Cover Tunes.
George Burns – With A Little Help From My Friends (1969)
William Shatner – Lucy In The Sky With Diamonds (1968)
Bill Cosby – Sgt. Pepper’s Lonely Hearts Club Band
Here is a list of albums that I believe are under appreciated (if not underrated). I know that lists are essentially a useless exercise, but I am not listing them from best to worst or otherwise ranking them. I simply went through my collection and picked albums that I feel are either (1) overshadowed by other records in the artist’s catalogue, such that they are generally overlooked, (2) aren’t that well known to many music fans, or (3) do not receive the proper amount of attention and airplay from radio and other media. At least those are the basic criteria (for those of you who ask . . . you know who you are haha). Anyway, here we go in iTunes order (first name based since I don’t like last name, first name).
1. B.B King – Lucille (1968)
Any record with “Watch Yourself” needs to be played repeatedly. B.B. is in great form on this one. The album is a classic example of great late 60s blues. I like that it doesn’t have the over-produced sound of many of his classic records, just really solid, relaxed blues.
2. The Band – Northern Lights Southern Cross (1975)
I believe that this is the last true “Band” album (it was the first collection of new material since 1971’s “Cahoots”). It’s on the list for the 3 following reasons: “Ophelia”, “Acadian Driftwood” (right there with the best of the best) and “It Makes No Difference”. The album garnered much critical acclaim, but like many albums on this list, it didn’t do astonishing well in the charts. The album finished as the Band’s lowest-charting Robbie Robertson-era record in the Canadian charts and it only reached No. 26 in the US. But the guys seemed to have found a renewed focus that had been lacking for a while, and they mustered up a solid and well balanced effort. Upon reflection, the album in tends to surpass many of their more heralded works.
3. Bare Naked Ladies – Gordon (1992)
I consider this album to be one of my desert island discs. Not a clunker among the bunch. From the opening “Hello City” to the brilliant “Brian Wilson” and “Be My Yoko Ono”, to their spot on goof of artist box sets in “Box Set” (“Disc 5 I was barely alive, I was hacking up a lung”), and groupies in “New Kids On The Block” (“It just might be your daughter on our bus”), this is a solid album top to bottom.
4. Brian Eno – Another Green World (1975)
This album includes contributions from several guest musicians including Robert Fripp, Phil Collins, and John Cale. It’s another record that garnered high praise from critics, but failed to chart in the United States or the United Kingdom. While not an album of true ambient music (which Eno would later become closely associated with), the album provides a good vehicle for an introduction into that ambient style of music. It’s a great collection of songs, particularly “St. Elmo’s Fire” and “I’ll Come Running”. Nothing short of a masterpiece.
5. The Beatles – Beatles For Sale (1964)
This album marked a minor turning point in the Lennon–McCartney songwriting partnership, with John Lennon particularly now showing interest in composing songs of a more autobiographical nature. I actually love the album, despite its rather somber mood following the upbeat sound of the Beatlemania fueled “A Hard Day’s Night” released several months earlier. I am particularly found of “Eight Days A Week”, “No Reply”, “I’m A Loser” “Words Of Love” and “What You’re Doing”. It is probably the most under appreciated album in their catalogue.
6. Black Nasty – Talking To The People (1973)
A great, unique funk sound from the early 70’s. If you like Funkadelic, Rare Earth or the Ohio Players, you will certainly enjoy this record. Definitely a gem. It’s worth the money for the title track alone. It was released on Stax records, so you know there is some serious goodness on the record. When it was released, it probably was a bit to rocking for black radio, and at the same time, too funky and soul-oriented for FM rock radio. So Black Nasty fell through the cracks, being a commercial disappointment but garnering much critical acclaim. Enjoy the grooves on this one.
7. Bob Dylan – Desire (1976)
This album is clearly overshadowed by other critically acclaimed and commercially successful albums in Dylan’s vast catalogue. But, “Desire” is a masterpiece in its own write. Many of the songs on this record feature backing vocals by Emmylou Harris (enough said there). It contains many terrific songs, including “Hurricane”, “Isis”, “Mozambique”, “One More Cup of Coffee” and “Black Diamond Bay”. Other than “Joey”, it’s one to listen to the whole way through.
8. Bruce Cockburn – Inner City Front (1981)
This record is another one of my desert island discs. Again not a clunker on either side (for those of you who have the vinyl). Cockburn foregoes the folkier, acoustic leanings of his 1970s albums and ventures into the jazz, world beat and rock world. The record contains fantastic lyrics (as one would expect from Bruce), which are highlighted by the title track, the brilliant “Justice” and “Broken Wheel”. Just a magnificent album.
9. Cannonball Adderley – Something Else (1958)
I consider this the companion album to Miles Davis’ “Kind of Blue”, since it was recorded while Adderley was in Davis’ Sextet and at about the same time as Davis’ record. It includes one of the few post-1955 appearances of Miles Davis as a sideman. Always overshadowed by its better known cousin, it is a fantastic album in its own right and a must have for any record collection.
10. Captain Beefheart And His Magic Band – Safe As Milk (1967)
One could probably include every Captain Beefheart album in a discussion of under appreciated albums. The ground breaking innovation and musicianship on his records has been well documented, but little has found its way into mainstream music circles. It’s an acquired taste, but well worth the effort. Given the length of the Captain’s recording career and the radical changes in band membership and musical direction, this will be the first of three Beefheart records included here. This album features a 20-year-old Ry Cooder, who played guitar and often acted as musical arranger. The album contains a number of Beefheart classics, complete with odd time signatures and and surreal lyrics (“Abba Zaba”, “Dropout Boogie” and “Electricity”). The album even includes a hint of what the Magic Band could have been if they had elected to go in a more conventional direction, as the soul influenced “I’m Glad” illustrates. But most of the album has a distinct psychedelic sound (exemplified by “Zig Zag Wander”). I will never forget what someone wrote on the album cover at my college radio station – “Eat your heart out Jefferson Airplane” – which I always thought was the highest compliment one could give to a psychedelic album from the late 60s.
11. Captain Beefheart And The Magic Band – Clear Spot (1972)
After the lack of commercial success of “Trout Mask Replica” and “Lick My Decals Off Baby” (despite the critical acclaim for each), Beefheart elected to go for a more mainstream sound (to possibly earn some much needed money). The result was the wonderfully bluesy “Clear Spot”. Unfortunately for the band, the album failed to chart. But it is well worth a listen and should be included in any serious record collection. The opening track “Low Yo Yo Stuff” is a driving, blues fueled rocker that sets the tone for the record. “Her Eyes Are a Blue Million Miles” is a beautiful tune that was included in the soundtrack to “The Big Lebowski”. “Big Eyed Beans From Venus” contains some outstanding guitar work. There is even a “tender” ballad in “My Head Is My Only House Unless It Rains”. How this album failed to gain commercial success is beyond me.
12. Captain Beefheart And The Magic Band – Shiny Beast (Bat Chain Puller) (1978)
Much has been written about the production difficulties surrounding the original effort to make this record (the “Bat Chain Puller” sessions), and Beefheart’s resulting feud with his “friend” Frank Zappa (and Zappa’s record label), so I will not go into that discussion that here. Shiny Beast is the album that ultimately emerged for release and it is a terrific album, certainly one of the finer efforts of the Captain’s career (although “Doc At The Radar Station” warrants serious consideration too). The title track “Bat Chain Puller” had its rhythm track inspired by the sound of windshield wipers on a car, which becomes quite evident when listening closely to the tune. “Tropical Hot Dog Night” is a latin fueled number that was covered by Coati Mundi & Rubén Blades and ended up getting play in latin nightclubs. The album received much critical acclaim and was hailed as a return to brilliance after the dismal reception that his prior two albums received. But, it is a record that might take several listens before you reach a “eureka” moment.
13. David Crosby – If I Could Only Remember My Name (1971)
One could argue that it’s hard to characterize an album that made it to number 12 on the Billboard charts as under appreciated. But I submit that if I asked the average music enthusiast to name more than one song from this album, many would not be able to do so. One reason could be that the album does not really contain any “hits”. But the list of musicians who played on the album is a who’s who of the late sixties San Francisco (and LA) psychedelic scene, including Jerry Garcia, Phil Lesh, Bill Kreutzmann, Mickey Hart, Neil Young, Graham Nash, Jorma Kaukonen, Jack Casady, Paul Kantner, Grace Slick, David Freiberg, Gregg Rollie, Mike Shrieve and Joni Mitchell. Crosby once thanked Phil Lesh for making “Laughing” such a compelling track with his bass playing and that tune is probably the star of this collection. “Cowboy Movie”, “Tamalpais High (At About 3)”, “Traction In The Rain” and “Song With No Word (Tree With No Leaves)” are also all outstanding compositions. An absolute most own disc for any collection.
14. Dire Straits – Communique (1979)
Overshadowed by its predecessor (the group’s debut release) and subsequent efforts like “Making Movies” and “Brothers In Arms”, “Communique” is an excellent record in its own right. “Once Upon A Time In The West”, the title track,”Lady Writer”, “Angel Of Mercy” and “Single-Handed Sailor” are all outstanding tunes. This one is a pleasure to listen to and should not get lost among the band’s other fine efforts.
15. Dr. John – Gris Gris (1968)
The debut album by Dr. John, it is a hybrid of New Orleans rhythm and blues and psychedelic rock. The album failed to achieve commercial success, but it garnered much critical acclaim, often showing up on lists of the greatest albums of all time. The musical style and experimental nature of the music make for compelling listening. The inclusion of “I Walk On Guilded Splinters” alone might warrant inclusion of the album here.
16. Frank Zappa – Over-Nite Sensation (1973)
Again, an album with highly recognizable songs being under appreciated? Yes. For starters, this was Zappa’s highest charting album since “We’re Only In It For The Money” from 1967, and it only made it to #32. And remember, we are talking Frank Zappa here, hardly a mainstream, radio-friendly artist. But the album is chock full of great Zappa nuggets. “Camarillo Brillo” (of the “Is that a real poncho . . . I mean Is that a Mexican poncho or is that a Sears poncho?” fame), “Dirty Love”, “Dinah-Moe Hum” and “Montana” (“Just to raise me up a crop of Dental Floss, Raisin’ it up Waxin’ it down…”). Just a wonderful album. (Note: “One Size Fits All” comes in a close second).
17. Funkadelic – Maggot Brain (1971)
This Funkadelic album is considered one of the pioneers of a whole new kind of psychedelic rock, one with a dance groove. The album features George Clinton, Eddie Hazel and Bernie Worrell, which pretty much sums it up. The title track has incredible guitar playing by Eddie Hazel, and is probably worth inclusion for that alone. Plus who doesn’t love the album cover! Dive into this one.
18. Ginger Baker – Stratavarious (1972)
This is an african rhythm based album by Ginger Baker, assisted by a collection of musicians, including the Nigerian pioneer of Afrobeat, Fela Ransome-Kuti. It is one of the first albums from a western rock star to utilize african rhythms, well in advance of efforts from the Talking Heads, Peter Gabriel and Paul Simon. The album is a mix of Afrobeat, rock music and jazz fusion. Overall, it is a very enjoyable listen.
19. Grateful Dead – Wake Of The Flood (1974)
Before I chose this album, I also considered including either “From The Mars Hotel” and “Alabama Getaway” as under appreciated albums (I know I will probably catch a lot of grief for “Alabama Getaway” from people who say Brent made it sound too much like a Doobie Brothers record, but I like it). Anyway, “Wake Of The Flood” is the first album the band recorded without bluesman Ron “Pigpen” McKernan and the first with Keith Godchaux. The result is an album with more of a jazz flavor and less of the rock, country and blues flavor of their prior albums. Notably, the album only contains one Bob Weir tune, “Weather Report Suite” (but that one tune is a damn good one). “Eyes Of The World”, “Here Comes Sunshine”, “Row Jimmy” and “Mississippi Half-Step” make up a very solid effort.
20. Hot Tuna – Burgers (1972)
The third album by Hot Tuna, featuring Jorma Kaukonen, Jack Casady, and Papa John Creach, makes the list. An outstanding lineup of songs, including “Keep On Trucking”, “True Religion”, “99 Year Blues”, as well as the wonderful “Sea Child” and “Water Song”. It amazes me that many of these songs did not find their way into the steady rotation of the FM airways. But not to worry, you can listen to it whenever you wish. No music collection would be complete without this record.
21. Indigo Girls – Rites Of Passage (1992)
Probably my favorite Indigo Girls album. The first 5 cuts, “Three Hits”, “Galileo”, “Ghost”, “Joking” and “Jonas and Ezekial” get the album off to a wonderful start. “Airplane” is a humorous little tune, helped immensely by the Roches. “Let It Be Me” features David Crosby and Jackson Browne and contains an eerily familiar riff very reminiscent of Andrew Gold’s “Thank You For Being A Friend” (to me anyway). A great listen beginning to end, without a clunker in the bunch.
22. J. Geils Band – Bloodshot (1973)
I know I will probably get some raised eyebrows for including J. Geils, but that would just be wrong. First thing one needs to do is get the “Centerfold” version of J. Geils out of your head. J. Geils was a good blues band back in the day. This album is bluesy and it rocks. It also contains one of my favorite songs of all time “Give It To Me”. The record opens with a great party rocker “(Ain’t Nothin’ But A) House Party”, and from the opening notes you know you are going to be moving (and grooving and rolling and strolling) every part of your body. “Southside Shuffle” is another great tune too. Give this one a good listen with a clear and open mind, you won’t be disappointed. And it’s cool that a version was released on red vinyl to boot!
23. James McMurtry – Candyland (1992)
James McMurtry offers a deep, personable delivery, equally suited to both country and rock. A GREAT songwriter in the Americana tradition. He writes songs that paint pictures of the American way of life. Both “Safe Side” and “Good Life” capture the feel of American culture as well as any song, from any artist. I love the title track which just rocks out (“He clips his roach and he hauls his load, taking his half out of the middle of the road…in the Candyland”). Another must have album for any collection (and while you are at it, you can add the rest of his catalogue too).
24. The Jayhawks – Hollywood Town Hall (1992)
Definitely one of my top 10 desert island discs. Clearly noticeable musical influences from The Everly Brothers, The Rolling Stones, and Neil Young (‘Sister Cry”) on the album. An album that would have made Gram Parsons proud. Fantastic harmonies, it is an album that needs to be listened to straight through, since every song is terrific. It gets the Luv4music seal of approval.
25. Jerry Garcia – Reflections (1976)
Jerry Garcia’s third solo album typically gets overshadowed by his debut solo album and his second solo effort “Compliments”. But Reflections is a wonderful collection of solid tunes, many of which were regularly played by the Dead in concert. The delightful “Might As Well” kicks it off. Other great tunes on the record include “Mission In The Rain”, “They Love Each Other” (one of my personal favorites), “It Must Have Been The Roses” and the GD concert treat “Comes A Time”, all of which make for great listening. A great “unofficial” Grateful Dead record.
26. Jethro Tull – Benefit (1970)
Probably my favorite Tull album , although “Stand Up” is really hard to beat. It is clearly overshadowed by its follow up “Aqualung” and its predecessor “Stand Up”, but I think it’s a terrific effort. Martin Barre claims “To Cry You a Song” was written as a response to Blind Faith’s “Had to Cry Today” even though there is no musical similarity between the two tracks. Other great tunes include “With You There to Help Me”, “Nothing to Say”, “Inside” and “Play in Time”, all of which are among Tull’s best. And the album’s hit tune “Teacher”, is a much deserved staple of classic rock. Go ahead and put aside “Aqualung, “Stand Up” and “Thick As a Brick” for a minute, and discover one of Tull’s best efforts instead.
27. Joan Armatrading – Joan Armatrading (1976)
Another of my top 10 desert island discs (am I up to 20 on that list yet? haha). This one is just a tour de force record. The album contains incredible vocals and songwriting, and is a must have for every music lover. Producer Glyns John said that the album “almost single-handedly elevated Armatrading into the ranks of rock’s leading female artists”. He later said it was the best album he’d ever been associated with. I couldn’t agree more. “Down to Zero”, “Help Yourself”, “Water With the Wine”, “Love and Affection”, “Join the Boys”, “Like Fire” and the album’s finale “Tall in the Saddle” all contribute to make this a masterpiece record.
28. Joe Jackson – Blaze Of Glory (1989)
A great album, but one which garnered not only little commercial success, but also failed to receive much critical acclaim. Jackson considers the album one of his best efforts, and I agree with him on that assessment. Obviously overshadowed by “Night And Day” and “Look Sharp”, the record is an examination of his generation, from the 50s to the late 80s. “Down to London” is a great song which became a staple in his live shows. The title track is a brilliant effort, referencing the rock star with the meteoric rise and the just as meteoric flame-out. “Rant And Rave” segues right into “Nineteen Forever” and comprise the radio play tracks on the record. And “Evil Empire” is a not too well disguised lash-out at the Reagan-era America (although he crafts it in a way that one could also think he could be talking about the USSR). Jackson insisted on playing the new album in its entirety at the start of each concert, which often led to restless audiences (which resulted in him penning the song “Hit Single” on his follow up record “Laughter And Lust” – which also could be considered for inclusion on this list). Overall, an excellent, under appreciated album.
29. Joe Strummer And The Mescaleros – Streetcore (2003)
The third and final studio album by Joe Strummer & the Mescaleros, it was completed after Joe’s untimely death. A more straightforward rock album than the Mescaleros’ prior albums, it was a return to a sound more reminiscent of The Clash. Probably worthy of inclusion solely based on the great track “Get Down Moses”, the album offers a number of excellent tunes, like “Coma Girl” and “Redemption Song” among others. Joe certainly went out on a high note wth this one, but sadly left us wondering what could have been had he not left us much too soon.
30. John Entwistle – Whistle Rymes (1972)
The best solo album from a member of The Who not named Pete Townshend. Peter Frampton supplies some great guitar work and Keith Moon is featured on drums. A solid effort from The Ox. The tracks “Who Cares?” and “I Feel Better” stand out. Definitely worth a listen.
31. John Mayall – The Turning Point (1969)
I tried not to include live albums on the list, but since this album is another one of my desert island discs, I felt compelled to break the rule. This is an excellent mood album, a low volume music album without heavy lead guitar and drums. Stand outs include “I’m Gonna Fight for You J.B.”, “So Hard To Share”, “The Laws Must Change” and “Room to Move”.
32. John Mayall – Jazz Blues Fusion (1972)
Nothing like breaking the rule twice in a row, but this is another terrific (live) album that cannot be ignored. Great feel good jazz inspired blues numbers like “Country Road”, “Mess Around” and “Change Your Ways” lead the way.
33. King Crimson – Beat (1982)
Beat has the distinction of being the first King Crimson studio album to feature a band line-up identical to that of the immediately prior album. Which is perfectly acceptable when that lineup consists of Robert Fripp, Tony Levin, Bill Bruford and Adrian Belew. The album focused on the twenty-fifth anniversary of the publication of the novel “On the Road” by Jack Kerouac. Generally overshadowed by the debut from this lineup (“Discipline”), the polyrhythms are first rate. I particularly like “Waiting Man” and “Sartori in Tangier”. “Heartbeat”, “Neal, Jack And Me” (which was titled “Absent Lovers when I saw them in concert before the album’s release), and “Neurotica” (which was referred to as “Manhattan” at that show) are also notable tunes on the album.
34. King Sunny Ade – Aura (1984)
While not a commercial smash, “Aura” is one of my favorite recordings from King Sunny. Generally overshadowed by “Juju Music” and “Synchro System”, Aura is a terrific record. The great Stevie Wonder is featured on harmonica on “Ase”. The album is generally considered his most Westernized effort. Interestingly, nearly every track on “Aura”features assertive synthesizers and ticking, programmed beats not far from the hip hop of the time, similar in many ways to Herbie Hancock’s “Rockit” or Afrika Bambaataa’s “Planet Rock”. An all around solid album.
35. Little Feat – Feats Don’t Fail Me Now (1974)
Little Feat is one of the most underrated bands of all time, so virtually every one album of their albums could be included on this list. Certainly “Time Loves A Hero” was strongly considered, but I believe that this collection is more deserving of inclusion on the list. The record contains one of my all time favorite Feat tunes, “Spanish Moon” (although the best version is the one off “Waiting For Columbus”). The album also contains classics like “Oh Atlanta”, “Skin it Back” and the “Medley: Cold Cold Cold/Tripe Face Boogie”.
36. Los Lobos – The Neighborhood (1990)
One of the great American bands, a large portion of their catalogue could be included on this list. This one is a treat and it includes contributions from a number of artists, including Levon Helm and John Hiatt. “Angel Dance” is one of their finer songs, and is one of the band’s true gems. “Emily’ features David Hidalgo on violin and Levon Helm on mandolin. “Jenny’s Got A Pony” is a great rocker. “I Walk Alone” and the title track round out a very solid record.
37. Los Lobos – Kiko (1992)
The follow up to “The Neighborhood”, “Kiko” is Los Lobos’ masterpiece. One of the most under appreciated and underrated albums of all time (in my opinion). The record is just loaded from top to bottom with great tunes. It would be futile to try to list the best tunes, since it entire album would be listed. But, a few of the stand outs include “Dream In Blue”, “Wake Up Dolores” and my favorite “Peace”. I can’t say enough good things about this one.
38. Lucinda Williams – Sweet Old World (1992)
“Sweet Old World” is a brilliant album full of short-story details in each song. The album proves that Lucinda Williams is a first class song writer with a wrenching directness that hits one directly in the heart. She sings the tunes with a scratchy southern drawl backed with a bluesy roots-rock sound. One would be hard pressed to come up with a more powerful and gut wrenching tune than “Pineola”. “Hot Blood”, “He Never Got Enough Love” and “Sweet Old World” also stand out. Like a number of other albums on this list, not a clunker in the bunch.
39. Lyle Lovett – Joshua Judges Ruth (1992)
Yet another album that received critical acclaim but failed to obtain mainstream success. The album title has biblical references and some of the songs have religious underpinnings, but generally the songs mostly reflect on musings of heartbreak and loss. “I’ve Been To Memphis” and “Church” are both wonderful tunes to start off the album and set the tone for a well written and well performed album. This is another album that should be in everyone’s collection.
40. Magic Sam – West Side Soul (1967)
“West Side Soul” is considered by some to be one of the great electric blues albums of all time. Magic Sam is known for his tremolo sound, and he certainly displays it on this one. This is the kind of album that sounds like it could have been recorded live in a night club, rather than in a studio. It’s just a unique, outstanding blues record. Even the cover song “Sweet Home Chicago” sounds uniquely original here. If you love the blues, this has to be in your collection. A truly under appreciated masterpiece.
41. Mel Brown – Chicken Fat (1967)
The debut album by Mel Brown contains a unique spin on the bluesy guitar/organ sound. Mel wows us with his tight and smokin’ grooves, which are reminiscent of Booker T. and The MGs. The album is rooted in the blues, but Mel brings us some R&B, funk, soul, rock n’ roll, cool organ work and some absolutely incredible guitar exchanges. Another must have blues record for the serious blues aficionado. Get this one, you will not be sorry.
42. Michael Franti & Spearhead – Yell Fire! (2006)
It was a toss up between this one and “Everyone Deserves Music”, but I chose to go with “Yell Fire”. This album was inspired by Franti’s trip to the Middle East and the conflicts he witnessed there. Another album on the list where the title track alone is probably enough to put the record on the list. But there are plenty of other nuggets, such as “I Know I’m Not Alone”, “One Step Closer to You” and “Hey Now Now”. Give this one (and his entire catalogue) a listen.
43. Michelle Shocked – Arkansas Traveler (1992)
One thing I discovered compiling this list is that 1992 had a lot of great albums and a lot of under appreciated albums. One of the golden years I guess. “Arkansas Traveler” focuses on the roots of Shocked’s music. The album features numerous guest appearances including Taj Mahal, Alison Krauss, Tony Levin, members of Uncle Tupelo, Levon Helm, Rick Danko and Garth Hudson. “33 RPM Soul” and “Come Along Way” are terrific tunes and set the tone for the record. They are followed by a “Secret To A Long Life” which features the unmistakable vocals of the national treasure, Levon Helm. It is just a fantastic tune, and could have easily been included on any classic Band record. Another favorite on the record is “Prodigal Daughter (Cotton Eyed Joe)” with its southern charms. This is another critically acclaimed album that failed to achieve commercial success. But that won’t stop you from enjoying it.
44. Mighty Diamonds – Reggae Street (1981)
One of my favorite reggae albums. The Diamonds are backed by the Revolutionaries (led by Sly & Robbie) and the rhythms are strictly rockers, the singing strictly roots. From the smoothness of “Reggae Street” to the rocking “Shabby Raggy” to the fabulous intro to “King Kong”, the collection of tunes on this one is rock steasdy. A truly great reggae classic, it will make you feel ire.
45. Miles Davis – E.S.P. (1965)
Like the Beatles, it might seem a bit silly to include an “under appreciated” Miles Davis record. But, when you have records such as “Kind of Blue”, “Bitches Brew”, “In A Silent Way”, etc. it’s easy for other albums in the catalogue to get overlooked and overshadowed. E.S.P is a great record. It’s the first album by what is often referred to as Miles Davis’s second great quintet, comprising Davis, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams. “Agitation” is probably the star of the collection. But the title track, “Eighty-One” and “Little One” are all good in their own right. Don’t overlook this one.
46. Mofro – Lochloosa (2004)
The second studio album by the Jacksonville, Florida-based band, led by the incomparable JJ Grey. The songs speak to the Florida heartland, and consist of what JJ calls “back porch swamp boogie” music. The record includes the fabulous title track, which is always a highlight in concert. It’s just a moving piece of music (“Every alligator every black water swamp, Every freshwater spring – everything, All we need is one more damn developer tearing her heart out, All we need is one more Mickey Mouse, Another golf course another country club, Another gated community…”), all that more powerful when performed live. “Fireflies”, “How Junior Got His Head Put Out”, “Ten Thousand Islands”, “Dirtfloorcracker” and “Six Ways From Sunday” also stand out. Overall, a really great album.
46. Nanci Griffith – Other Voices, Other Rooms (1993)
This is an album of songs written by other songwriters who have influenced Nanci’s career. There are numerous guest appearances on the album, including Emmy Lou Harris on “Across The Great Divide”, Arlo Guthrie on “Tecumseh Valley” (he joins faintly in the background to start and his voice grows more prominent on each verse until he essentially leads one of the verses toward the end to great effect), Bob Dylan (Harmonica) on “Boots of Spanish Leather”, Guy Clark on “Do-Re-Mi”, Janis Ian on “This Old Town”, Iris Dement on “Ten Degrees And Getting Colder” and Odetta and the Indigo Girls on “Wimoweh”. Just a terrific album of covers, released before the flood of cover song and tribute albums came out. Surprisingly it made it to #54 on the Billboard Pop Albums chart in 1993, even though it had no charting singles.
47. Neil Young – Re-act-or (1981)
This album can be seen as a continuation of the punk-influenced numbers of “Rust Never Sleeps”. Critical reception to the album was generally poor at the time, but one needs to remember that punk was still a somewhat divisive genre at the time. It is one of the most overlooked albums in Neil’s vast catalogue. But I think I’m drawn to it now because it has such a driving and primitive sound. It’s Neil’s classic rocker’s nod to The Sex Pistols and The Clash. I admit I wasn’t fond of it when it came out, but revisiting the record has given me a new perspective and appreciation. Once again, Neil shows why he has remained relevant for such a long time. “Opera Star”, “Surfer Joe”, “T-Bone”, “Rapid Transit” and especially “Shots” are ones to enjoy. Get reacquainted with this one.
48. Nick Lowe – The Impossible Bird (1994)
Lowe’s strengths shine here – clever lyrics and pop sensibilities. “Soulful Wind” is a wonderful tune and as catchy as anything he’s ever written. “The Beast in Me” is one of several sad, introspective numbers. And the terrific love song “True Love Travels On A Gravel Road” cannot be overlooked. There is really not a bad song on the record. One of his finer works. Treat yourself to this one.
49. Pablo Moses – Pave The Way (1981)
Pablo Moses is a roots reggae vocalist who first came on the scene with 1975’s “Revolutionary Dream”. Rarely thought of in the same vein as The Wailers, Steel Pulse, etc., Moses nevertheless delivers consistently good reggae on most of his efforts. “Pave The Way” is a must have for any reggae music fan. “It’s A Trick”, the title track, “A Step Before Hell”, “Last Straw”, “Sister” and especially “Africa Is For Me” are all outstanding tunes. I am lucky enough to have this one on vinyl. Get a hold of this record, turn the bass up and enjoy.
50. Paul Kantner, Grace Slick & David Freiberg – Baron Von Tollbooth & The Chrome Nun (1973)
Considered by some to be the last true psychedelic album ever made. Although many of the Jefferson Airplane members play on the album, the record is notable in that on most of the tracks, Jerry Garcia of the Grateful Dead performs lead guitar and Chris Ethridge of the Flying Burrito Brothers performs bass. The album contains many good tunes, including the title track, as well as “Fat Slick”, “Flowers Of The Night”, “Walkin'” and “Fishman”, all of which evoke that classic Airplane sound. “Your Mind Has Left Your Body” was the final studio track to feature Paul Kantner, Grace Slick, Jorma Kaukonen and Jack Casady until the 1989 Jefferson Airplane reunion album. That track is also notable because the Grateful Dead often performed an instrumental jam version of that song in concert during their 1973-74 tours.
So, this ends Part 1. Stay tuned for the Part 2, when we highlight the next 50 or so under appreciated albums.
From 1972 until 1981, there was a fantastic television program that ran on the NBC television network called The Midnight Special. It was created and produced by Burt Sugarman and was noted for featuring musical acts performing live, which was unusual since most television appearances during that era showed performers lip-synching to prerecorded music.
Many of the performances on the program were truly outstanding. Here’s a look at a number of my favorites. I have tried to list them in chronological order. Enjoy.
1. Do It Again – Steely Dan – Aired February 9, 1973
Absolutely incredible live version of the great Steely Dan tune. They rarely played live early in their career, so this is a just a wonderful treat. What a band!
2. Listen To The Music – The Doobie Brothers – Aired February 16, 1973
Great rocking performance from the Doobies!
3. Jesus Is Just Alright – The Doobie Brothers – Aired February 16, 1973
Another classic Doobie tune from the February 16, 1973 episode (Season 1, Episode 4). The video may say it is from 1975, but if so it was a rebroadcast of the performance initially broadcast in 1973. Great rocking version. Enjoy.
4. Summer Breeze – Seals and Crofts – Aired March 9, 1973
Wonderful version of the classic radio hit.
5. To Love Somebody – Bee Gees – Aired April 6, 1973
The first of several great Bee Gees performances I have included on this list.
6. Will It Go Around In Circles – Billy Preston – Aired April 13, 1973
Great rendition from the “5th Beatle”, worth checking out just for the giant afro haha.
7. Reelin’ In The Years – Steely Dan – Aired April 13, 1973
Introduced by Bill Cosby, a great rare live version of the band’s terrific song.
8. Superfly – Curtis Mayfield – Aired June 8, 1973
One of the very best performances on the series goes to the great Curtis Mayfield!
9. Let’s Stay Together – Al Green – Aired August 3, 1973
A fantastic moving performance from the smooth singer, the one and only Rev. Al Green!
10. Hocus Pocus – Focus – Aired October 5, 1973
High Octane version of the hard rocking classic by the Dutch progressive rock band.
11. The Thrill Is Gone – B.B. King and Gladys Knight – Aired October 5, 1973
Nice duet on B.B. King’s seminal song. The video indicates 1974, but it is introduced by Helen Reddy, who hosted the show on January 31, 1975 when the performance was re-aired for the second anniversary special. But the song was originally broadcast on the October 5, 1973 show.
12. Reelin’ and Rockin’ – Chuck Berry – Aired October 12, 1973
Very enjoyable version of this song by the King of Rock and Roll, joined by the hosts, The Bee Gees!
13. Cisco Kid – War – Aired October 19, 1973
One of the most underrated bands, if not the most underrated band, of all time. Great version of the band’s classic hit.
14. Personality Crisis – New York Dolls – Aired October 19, 1973
Amazing to see the influential early punk rock band, with their androgynous wardrobe, show up on the Midnight Special. But we are thankful that they were included and provided this hard rocking version of Personality Crisis.
15. Hello It’s Me – Todd Rundgren – Aired December 7, 1973
Wonderful, grand piano version of Todd’s classic radio hit.
16. You’re No Good – Linda Rondstadt – Aired December 21, 1973
Strong, powerful version of the country rock hit.
17. The Joker – The Steve Miller Band – Aired January 25, 1974
The recent Rock and Roll Hall of Fame inductee and his band performed a version of his popular hit The Joker. 1972 is incorrectly noted on the video clip.
18. Come and Get Your Love – Redbone – Aired February 22, 1974
Superb live version from the one hit wonder Native American Band – Redbone. Hail indeed!
19. Ain’t No Sunshine – Bill Withers – Aired March 22, 1974
The great soul artist gives us a terrific, unplugged-style version of his classic radio hit.
20. American Woman – The Guess Who – Aired March 29, 1974
Worth watching just to see the imposing Burton Cummings belting out the lyrics in his groovy white suit!
21. Thank You (Falettinme Be Mice Elf Agin) – Sly and the Family Stone – Aired August 9, 1974
Always great to hear Sly and the funksters perform this great, grooving song!
22. Dream On – Aerosmith – Aired August 16, 1974
The very first Aerosmith hit from their first album. Great to see the guys so young and vibrant.
23. Love Train – The O’Jays – Aired September 13, 1974
A great live version of the band’s peace and love anthem!
24. Tell Me Something Good – Rufus & Chaka Khan – Aired November 29, 1974
Great funky version of this popular track. Nice use of the Peter Frampton voice-distortion device.
25. Dave Mason – World In Changes – Aired February 7, 1975
Dave Mason is one of the most awesome singers and his music really resonates with me. This song is from the great “Alone Together” album. This is a great example of Dave’s soulful singing and tasteful guitar playing!
26. Lady Marmalade – LaBelle – Aired April 18, 1975
The soul sister Patti LaBelle and the girls all decked out in their sexy space-age outfits, putting on the funky soul sounds in a great rendition of this song.
27. Medley: Lonely Bull, Spanish Flea, This Guy’s in Love with You, Taste of Honey and Zorba the Greek – Herb Alpert – Aired June 20, 1975
Herb Alpert briefly came out of retirement to dazzle us with this wonderful medley of the hits that put him on the map and made him famous. Enjoy!
28. Autobahn – Kraftwerk – Aired July 25, 1975
Amazing performance from the ground breaking German electronic band. Their sound combined driving, repetitive rhythms, catchy melodies and a minimalistic and strictly electronic instrumentation. The group’s simplified lyrics were sometimes sung through a vocoder or generated by computer speech software. As one of the comments to the video notes, it was a big hit in the U.S. because it the American audience thought the band was “singing “Fun Fun Fun auf der Autobahn”, but the lyrics are actually “Fahrn auf der Autobahn” (driving along the Autobahn).
29. That’s The Way I Like It – KC & The Sunshine Band – Aired September 5, 1975
A rousing, coke fueled rendition of the classic disco hit.
30. Nights On Broadway – Bee Gees – Aired December 5, 1975
The Bee Gees made a living hosting and playing on The Midnight Special. A lot of folks give them a hard time for leading the disco charge, but they are an amazing talented group of performers. The vocals are strong on this great song. Enjoy this one.
The last of the Bee Gees songs included on the list, this is another great underrated song. Strong playing and singing drive this one along. Try to stay in your seat listening to this one.
32. Love to Love You Baby – Donna Summer – Aired March 26, 1976
The super sexy queen of disco doesn’t hold back from her sensual moans of love and pleasure in the classic disco hit. Madonna, Lady Gaga and Katy Perry certainly owe her a thank you.
33. Rubberband Man – The Spinners – Aired September 17, 1976
Fantastic version of this song. Awesome Leisure Suits and synchronized dance moves. Hey y’all prepare yourself for some awesome sounds!
34. Play That Funky Music – Wild Cherry – Aired October 22, 1976
Rockin’ version of every less-than-funky person’s theme song. The coke influence is once again front and center. Play that funky music white boy, play that funky music until you die!
35. Breezin’ – George Benson and Carlos Santana – Aired April 22, 1977
Carlos Santana adds a wonderful rock edge to the soft jazz sounds of George Benson. Two great guitarists. Best version ever of this song.
36. Dixie Chicken – Little Feat w/ Bonnie Raitt, Emmylou Harris and Jesse Winchester – Aired June 10, 1977
Fantastic Little Feat tune, made all that much better by the addition of two of my favorite musical ladies, Emmy Lou Harris and Bonnie Raitt! Great Jam! Thank you Midnight Special!
37. We Just Disagree – Dave Mason – Aired December 30, 1977
Excellent live acoustic version of Dave’s classic hit.
38. Boogie Oogie Oogie – A Taste of Honey – Aired August 18, 1978
Who doesn’t love this funky disco anthem? Great live version made that much better by seeing the talented Janice M. Johnson on bass and vocals and Hazel P. Payne on lead guitar and vocals. Enjoy this one as they lead the band through some funky jams. Fabulous version.
39. Disco Inferno – The Trammps – Aired October 27, 1978
One of the defining songs of the disco era. Super funky, cocaine fueled version of the disco classic. Burn the mother down!
40. Le Freak – Chic – Aired December 1, 1978
Niles Rogers and gang bring the funkiest dance craze to the dance floor. It’s called Le Freak. So Freak Out – Le Freak, C’est Chic!
41. Surrender – Cheap Trick – Aired November 24, 1978
The recent Rock and Roll Hall of Fame inductees perform a rousing version of their popular hit.
42. Shake Your Body – The Jacksons – Aired February 2, 1979
The King of Pop urging everyone to dance, shout, shake your body down to the ground! There was only one Michael!
43. Brick House – The Commodores – Aired November 9, 1979
The funkiest of the funk songs. Great version of the Commodores classic hit. 36-24-36, she’s a brick house, she’s mighty mighty lettin’ it all hang out!
BONUS:
44. Lark’s Tongues in Aspic Part 2 & Easy Money – King Crimson – Aired October 12, 1973
I include these to illustrate how progressive and open minded The Midnight Special was. So cool that they broadcast a King Crimson performance. If you go through the list of artists appearing in each episode, you realize there were so many cool, innovative artists on the show that unfortunately did not have their performances become readily accessible.
I hope you enjoyed the selections. If there are choices that you are not fond of, feel free to skip over and ignore them. But most importantly, stay positive. Namaste!
Luv4music takes a look at some great, but generally under appreciated, and arguably underrated, tunes in the vast Who catalog. These are the tunes that generally don’t get quite as much air play or recognition as the classics, such as Baba O’Riley and Won’t Get Fooled Again. But they are tracks that are just as good of an example of the band’s sound and style as any track in the group’s discography. I always say that trying to pick my favorite Who tune is like asking me to pick my favorite child. I really don’t think it can be done. But, this list simply reflects one exuberant Who fan’s personal tastes and preferences. Anyway, the tracks have been listed in chronological order (as best as can be) for context and perspective. I hope you enjoy listening to these great tracks.
1. Zoot Suit -This was the band’s first single, but it was released under the name The High Numbers. Although this song wasn’t written by Townshend or Entwistle (it was written by Peter Meaden the band’s first manager), and it is not exactly a ground breaking or innovative track, it’s included because it represents some of the earliest elements of the band’s sound. I love listening to Pete’s guitar on this track. Notice that Moon’s drumming does not quite display the fury that he would unleash on subsequent records. Importantly, the song contains a line that would later figure prominently on the “Quadrophenia” album:
“I got a zoot suit jacket with side vents 5 inches long”.
2. Daddy Rolling Stone. This bouncy number clearly reflects the band’s dance hall roots. It has that mod style with a blues, R&B, Motown and rock influence. One of Roger’s better early vocal efforts, recorded at a time he was searching to find his comfort zone and style. I include the mono mix of the studio version of the record. I also include a great live version from the Ready Steady Go TV program, complete with Keith wearing his iconic target T-Shirt. Enjoy.
3. Shout And Shimmy – A James Brown cover, this tune also pays tribute to the Motown and R&B influence on the band’s sound and style in the early years. The song would be a staple in their live sets in 1965-66. I have included the studio version, as well as a performance on the Ready Steady Go TV program from July 2, 1965, which I find to be superior to the generally better known version from the Richmond Jazz And Blues Festival.
4. The Good’s Gone – One of my personal favorites off the first album. I will admit up front that I have a soft spot for the tunes where Pete makes significant vocal contributions . Although Roger handles the vocals pretty well on this one, I love the way he is complimented by the few lines that Pete sings. Plus the sound of Pete playing the highest notes of the Bm7 chord at the beginning of the song immediately hooks this listener. The extended version of the song is included here.
5. Instant Party (Circles) – This is quite possibly the song that hooked me as a rapid Who fan. It’s one of many tunes that Townshend wrote that spoke to me as an adolescent finding his way. Of course, the song contains more of that Roger/Pete vocal interaction that I enjoy so much. I prefer the original recording produced by Shel Talmy, which I generally refer to simply as Circles (which is how it was intended to be titled). The song is the first to feature John Entwistle’s horn playing (which would become a fairly regular component of the Who’s sound over the years). On this track he plays the french horn. I also include the alternate version that was self produced by the band and ended up being released on the band’s Ready Steady Who EP (which is the version that I generally refer to as Instant Party).
6. Whiskey Man– This just might be my favorite Entwistle tune. It is certainly one of the most underrated songs in the catalog. Great bass line, nice French horn and some good Entwistle lyrics. Entwistle said he double tracked his vocals in an effort to mask his inability to correctly pronounce his “R’s” to prevent the lyric from sounding like ‘fwend” instead of friend. Apparently, the song was inspired by the Chuck Connors western “Ride Beyond Vengence” (known in the U.K. as Night Of The Tiger), in which the character Elwood Coates has an imaginary friend called “Whiskey Man.”
“Whiskey Man’s my friend, he’s with me nearly all the time He always joins me when I drink, and we get on just fine”
I wish the band had included this one in their live sets.
7. So Sad About Us – The second album saw each member try to contribute some songwriting, with varying degrees of success. This Townshend number was clearly one of the best of the lot. Remarkably, this tune reportedly has been covered more frequently than almost any other song in the band’s catalog. So if it is popular enough to be covered so frequently, why would it be considered overlooked or under appreciated? Because it’s almost never included on any greatest hits package, it is rarely included in any of the band’s live shows and is almost never mentioned when anyone creates a list of the great Who songs. I include the studio version, as well as a awesome live version from The Marquee Club in London on March 2, 1967.
8. A Quick One, While He’s Away – Generally considered among the first thematic or operatic rock songs. Townshend states the song came about when Kit Lambert told him to put 4 songs of 2:50 in length together to form a single song or mini-opera. The performance that was filmed for The Rolling Stones Rock and Roll Circus in 1968 is a tour de force. It was so aggressive and we’ll done, that it is generally accepted that the main reason the Stones shelved the film is that The Who completely upstaged them. In fact, it was even suggested that the film be released as “The Who’s Rock and Roll Circus featuring the Rolling Stones”. The scene from the film where Moon plays the side of his Tom drum to make the horse galloping sound is priceless. Also, Entwistle tells a funny tale about the song, saying they wanted to put cellos on the track but Kit Lambert said the band couldn’t afford it, so they end up singing “cello, cello, cello, cello,” where they thought the cellos should be in the song. I have included both the studio version and the great Rock and Roll Circus version.
9. In The City – This tune started out as an amazing Keith and John jam. Pete ended up adding some nice guitar and Pete and Roger added some nice backup vocals to help make this worthy of a closer listen. It was originally released as the B-side to “I’m a Boy” in August 1966. The song inspired The Jam’s song of the same name, which borrowed its chord progression and a part of its lyrics.
10. Mary Anne With The Shaky Hand – The band produced three different versions of this song. Two versions of the song feature Al Kooper on organ. A third version was recorded without Kooper, which is the one that appears on the album The Who Sell Out. My favorite version is the one referred to as the U.S. mono single mix, which was included as the B-side of the “I Can See For Miles” single in the States. The US mono mix has the tremolo vocals and a somewhat tinnier (more treble) sound than the album version. This song also has the dubious distinction of being the second of several Who songs about masturbation (Pictures of Lily being the first). The song has a terrific melody and is another great under appreciated Who tune.
11. Odorono – This parody of a commercial advertising jingle brings a smile to my face every time I hear it. With lyrics like this, who couldn’t help cracking a smile or chuckling:
“She was happier than she’d ever been As he praised her for her grace But his expression changed, she had seen As he lent to kiss her face
It ended there He claimed a late appointment She quickly turned To hide her disappointment
She ripped her glittering gown Couldn’t face another show, no Her deodorant had let her down She should have used Odorono”
How could anyone not like a song that tells a bittersweet, funny story about underarm perspiration?! The song was unique enough that the American Cancer Society asked Townshend to write an anti-smoking jingle, since they figured it might be an effective way to reach the “now” generation to try to get them to stop smoking cigarettes. That request resulted in the tune “Little Billy”, which was eventually included on the Odds and Sods album. I include the studio version of Odorono here. I also include the live version of Little Billy from the Fillmore East, New York, NY on April 6, 1968, since it contains Townshend’s story about Odorono and how it led to the writing of Little Billy.
12. Tattoo – Another gem from The Who Sell Out and the perfect song to follow Odorono. A simple but effective metaphor for young men’s insecurity about their manhood. Townshend wrote Tattoo at a time when he decided to start writing story–songs, cameos and essays on the human experience. The song was generally paired with Fortune Teller in the early days, and it was a welcomed treat when they broke it out at Shea Stadium on the 1982 tour after a lengthy hiatus. It is one of Townshend’s favorite songs, and it is one of my favorites too. In addition to the album version, I also include the Fortune Teller>Tattoo medley from the Live at Hull show recorded in 1970 (with great drum and guitar work by Moon and Townshend respectively).
13. Our Love Was – I have a special place in my heart for The Who Sell Out. It must be the fascination with the hippie generation that I have had all these years. The Who Sell Out has that classic 60s production that just can’t be replicated. All I can really say about this one is that I just like this tune and the way it sounds. That’s my entire statement on this one. Oh, and Pete handles the vocals. The slightly different UK mono version is also included which features a “slide” guitar solo that was originally recorded as an alternate for the BBC.
14. I Can’t Reach You – Another Pete lead vocal tune that just resonated with me as an adolescent. It was one of the first songs Pete wrote on the piano. Pete has stated that he likes the chords he used in this song and he indicated that he used them in a number of other compositions, such as “Pure and Easy”, which has similar chord shapes. This song was originally called “See, Feel, Hear You” and was written right around the time Pete was discovering Meher Baba and his teachings. A wonderful song with that classic 60s sound I love.
15. Sunrise – Another contender for the most underrated Who tune. It was the last song recorded for The Who Sell Out. I have always felt that Pete may be at his absolute strongest and finest as an acoustic guitar player, and on this one his guitar work is just beautiful. It sounds like it has some of that Barney Kessel sound, which was such an influence on Pete. Apparently, Townshend claims he got the chords for the song from Mickey Bakers’ Jazz Guitar tutor book. This song is essentially a Pete solo track. It has great lyrics and excellent lead vocals by Townshend. Overall, I considered it to be a first ballot inductee into the underrated Who song Hall of Fame. In addition to the album version, I have also included a beautiful live version by Pete with Rachel Fuller.
16. Jaguar – One of the rejected tracks from The Who Sell Out, it was likely cut from the final release of the album at the last minute and most likely replaced by “Sunrise”. This tune has such a catchy baseline and such lovely ethereal vocals at the beginning, that it had to be included here. One of the better parody advertising tunes from The Who Sell Out sessions, it has such cool lyrics such as:
“The radio blasting, the girls are glancing, the dash is dancing with gleaming dials, Grace, space, race Grace, space, race Jaguar, Jaguar Jaguar, Jaguars.”
Some sources claim Keith Moon is on the lead vocals, but it’s pretty clear to me that it’s John Entwistle. Pete joins in the chorus as well.
17. Faith In Something Bigger – Roger does a nice job with the vocals on this one. Pete and John add some pleasant backing vocals and Keith (as usual) drives this one along. Pete told the New Musical Express in 1968 that he wanted The Who to “preach” on their new album, and this song was one of the results of that desire. Thankfully, the urge to preach passed fairly quickly. I just like the overall sound of the tune. It was recorded in January 1968, during the period after The Who Sell Out and before Tommy, when Townshend said The Who went “slightly mad” (with the song “Dogs” perhaps being the prime example of that).
18. Dogs – This one is Pete’s campy little ode to greyhound dog racing. It’s a fun song that really doesn’t quite sound like it was best suited for The Who. Entwistle felt that it probably should have been given to another band, like the Small Faces. I do like it for its charming, campy style, as well as the mumbling dialogue at the end, including Pete exclaiming “lovely buttocks” in reference to the dog’s backside!
19. Dogs, Pt. 2 – Despite having a title that might indicate that it is related to the original “Dogs” track, the tune has no musical connection to that song. Dog, Pt. 2 is an instrumental credited to Keith Moon. It is absolutely worth listening to simply for Moon’s manically drumming, Pete and John’s rocking accompaniment and Moon’s dog barks.
20. Sparks – An absolutely great instrumental from Tommy, it has such a classic riff. It was often performed live by the band, and I lucky enough to see it several times in concert. It was always one of the highlights of the bands live shows in my opinion. I include the studio version and an incredible live version from The Summit in Houston, TX on November 20, 1975.
21. Go To The Mirror! – This tune from Tommy is included on the list of The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. It’s a key song in the Tommy rock opera plot. The song invokes two recurring themes of the album, “See Me, Feel Me”, and “Listening to You”. While it may not be as well known as a song like Pinball Wizard from the Tommy album, it certainly is worth a closer listen.
22. Smash The Mirror – Although this song is rather short (it clocks in at 1:36), it has some nice bluesy guitar work and some excellent Daltrey vocals to propel it along. I almost included Sensation instead (those damn Townshend lead vocal songs), but ultimately I felt this one is the better choice.
23. Naked Eye – OK, if someone put a gun to my head and said name your favorite Who tune, after much deliberation (and sweating) I would probably have to say Naked Eye. I guess the great lyrics, the wonderful shared vocals by Roger and Pete, plus the great riffs just overwhelm me. Pete claims he wrote it as a sincere request for people to look a little deeper into things. One can hear the genesis of the song toward the end of the Who’s set at Woodstock in August 1969. I love the tease of the tune in the extended jam of My Generation on the Live At Leeds album. The studio version was eventually completed in the spring of 1971 during sessions for Who’s Next and was ultimately released on Odds and Sods. I never understood why it wasn’t included on Who’s Next (although they did add it to the deluxe edition of Who’s Next in 1995). Included here are the album version and a live version from the Summit in Houston, TX on November 20, 1975. I also include a version from the The Spectrum in Philadelphia, PA on December 4, 1973. The band plays an incredibly long version with some extended jamming for the encore of this concert portions of which ended up being broadcast on the King Biscuit Flower Hour radio program. Finally, I have added a jam from the Guthrie Theater in Minneapolis, MN on June 8, 1969, in which one can hear the early beginnings of the band working out the chord sequences that would eventually become Naked Eye (similar to Woodstock and in the My Generation jam on Live at Leeds).
24. I Don’t Even Know Myself – I guess my Buddhist leanings draw me to this one, especially with lyrics like:
“There’s nothing in the way I walk that could tell you where I’m going There’s nothing in the words I speak that can betray anything I’m knowing Don’t think about the way I dress, you can fit me on a labeled shelf Don’t pretend that you know me ’cause I don’t even know myself …”
I love the dichotomy between the hard rock and the country elements. I also enjoy the added bonus of picturing Keith playing the side of his tom just like he did on A Quick One in the Rock N Roll Circus film. Written after Tommy was completed, and around the beginning of what would become the Lifehouse project (Pete’s original demo was released on his 1999 solo album Lifehouse Chronicles, so it seems apparent that it was ultimately intended to be a part of that project), it was often included in the bands live sets in 1970-71. I include the studio version and the high octane, Keith Moon fueled live version from the Isle of Wight concert on August 29, 1970.
25. Song Is Over – The last song on side one of the album (or track 5 on digital media), it was originally intended to be final song of the Lifehouse project. It has wonderful lead vocals by both Pete Townshend and Roger Daltrey, which I love so much on Who records. Nicky Hopkins also adds some nice piano work to the tune. The song signals both an end and a beginning in the Lifehouse story:
“The song is over, It’s all behind me . . . “, and “I sing my songs to the wide open spaces…”
It’s a diacotomy that is in fact “in tune” with the eastern philosophy that Pete had come to embrace by the time he was working on Lifehouse. As the song ends, it contains refrains from “Pure and Easy”, in essence closing the circle on the story which began with ‘The Note” (which was the working title for Pure and Easy). Once again, I find myself drawn to one of the band’s quieter numbers (relatively speaking). The song’s lament for love lost is emotional and touching, while it’s sense of hope going forward is reassuring. A beautiful song, well worth a closer listen. I have included the studio version, as well as Pete’s demo of the song.
26. Gettin’ In Tune – Trying to pick an underrated tune off one of the greatest albums ever made (especially when there are only 9 tracks) is a bit problematic. But I think this track may qualify as the most underrated. This lesser celebrated tune is arguably one of the finest in the catalog. I absolutely love this one. The song deftly incorporates a theme of the power of music, both socially and spiritually, which speaks to me. The song has especially good keyboard work from Nicky Hopkins, excellent bass lines by Entwistle and strong vocals from Roger, accentuated by Pete’s wonderful backing vocals. The duet between Daltrey and Townshend where they exchange the line:
“Getting in tune to the straight and narrow…”
is just hauntingly beautiful. And Moonie’s drums just bring the tune home at the end. An absolutely brilliant, dynamic track in my estimation. Included is the stripped down version recorded live at the Young Vic theatre April 26, 1971 for the Lifehouse project, and the superior Glyn Johns produced Who’s Next version.
27. Too Much Of Anything – Another song to come out of the Lifehouse sessions (all of the Lifehouse tunes are really just incredible), it was originally titled “Bit Too Much”. The band could have easily done a double album for Who’s Next given the number of strong tunes Pete wrote for the Lifehouse project. This is another of my favorites from those sessions. The song’s theme about temperance in all things and the insidious horror of excess, resonates with me. Just some great vocal work by Roger, as he again brings Pete’s lyrics to a higher level. Nicky Hopkins adds solid piano to the track, with Pete’s electric and acoustic guitar work providing a perfect accompaniment. A tender, yet powerful song (thanks in large part to Daltrey’s vocals). Included are the Odds and Sods version and Pete’s wonderful demo version.
28. Time Is Passing – The “Lifehouse” project was just a monumentally creative period for Townshend. It produced a large amount of high quality tunes (as noted several times in this piece). Daltrey once remarked that although he had very little idea what Townshend was trying to accomplish with Lifehouse, what he did know was that the songs Pete wrote for the project were perhaps the finest he produced in his career. I actually like Pete’s demo version very much, which was spruced up a bit and released on “Who Came First” (which is included below). But The Who’s version is quite nice and is more than worth its inclusion here.
29. Relay – Basically the last “single only” recording that The Who would release. A rocking number that was originally written for the Lifehouse project (yet more proof of how great that project was for the band’s catalog). The song has some really strong lyrics:
“Someone disapproves of what you say and do, I was asked to see what I could really learn you, Don’t believe your eyes, they’re telling only lies, What is done in the first place don’t concern you”
Roger again moves the song along with his strong vocals (as he would do on many of the Lifehouse session tracks). Although he found his style and confidence on the Tommy album, he honed and perfected his craft during the Lifehouse sessions. I include the version used on The Old Grey Whistle Test, where the band is lip-syncing (at times not to well) to the single. I also include a powerful live version from Copenhagen in 1972.
30. Put The Money Down – Another great Lifehouse tune. Pete referred to the song as having terrific sound and being beautifully recorded, and I have to agree with him. Roger’s vocals are top notch and totally drive the tune, aided by some great guitar work by Townshend. Recorded in June 1972, the tune remained unfinished until 1974 when Roger finally finished the vocals so it could be included on the original “Odds & Sods” album. In fact, according to John Entwistle, at the time he was completing work on Odds & Sods, the tune only had a guide vocal and it was holding up the release of the album. He couldn’t get Daltrey down to the studio to record a new vocal, so he sent him a message asking if it’d be all right if he did the vocal. Entwistle said almost immediately Daltrey replied that it was O.K. as long as he could overdub the bass parts! The next morning Roger was in the studio. Thankfully, Roger followed through, because he does such a masterful job on the song. I could listen to him growl “in a tin cup” all day long. I also include Pete’s Lifehouse demo just to illustrate the point of how much Roger’s strong vocal effort really lifts this song.
31. Quadrophenia – The incredible instrumental which acts as the overture to the second (and in my opinion, far better) rock opera composed by Townshend. For my money, you would be hard pressed to convince me there are many better sounding guitar licks to a song’s start than the ones played by Pete on this track. This song completely encapsulates the feel of the underlying theme one of the greatest albums ever made. My recommendation is to play this one loudly.
32. Cut My Hair – A wonderful song about the adolescent struggle of fitting in with a group and realizing the relative futility in trying doing so. This song quotes multiple Who songs, including “I Can’t Explain,” “Out in the Street,” and “Zoot Suit” (the High Numbers song), especially the line:
“zoot suit white jacket with side vents 5 inches long”
The lyrics transcend the mod story and its particular time period and are really a classic summation of the struggles of adolescence in general:
“Why do I have to be different to them? Just to earn the respect of a dance hall friend, We have the same old row, again and again. Why do I have to move with a crowd Of kids that hardly notice I’m around, I have to work myself to death just to fit in.”
It’s a great, underrated tune on a magnificent masterpiece of an album.
33. I’m One – The song features an acoustic opening by Pete. Another song with timeless lyrics describing adolescents trying to find their way in the world. One of the timeless introspective lyrics:
“Ill fitting clothes, I blend in the crowd, Fingers so clumsy, Voice too loud. But I’m one”
Townshend said that he was a loser in high school and he wrote this song with that in mind. But I see the character as not necessarily a loser, but rather an average adolescent male trying to make sense of himself and the world around him, and struggling with his insecurities in doing so. Jimmy (the main character in the story) might be thinking he hasn’t got much going for him, but at least he’s one. “I’m One” (and frankly the rest of the Quadrophenia album) does a masterful job of translating that feeling of “struggling to come of age”. I include the studio version and Pete’s demo.
34. I’ve Had Enough -The closing tune of the first half of the opera (the last track of CD 1 or side 2 of the vinyl), completely driven by Moon’s great, intense drumming. One of Roger’s best vocal efforts on the record and some sweet Pete vocals (god I’m a sucker for those). Townshend summed up the tune by saying a lot happens around this song in the story (most of it in the cover story included in the album). Jimmy basically loses it when he sees a girl he likes with a friend of his and in a desperately self-pitiful state, smashes up his prize scooter and decides to go to Brighton where he had such a good time with his friends. It really should be more of a household name among great Who songs, but surprisingly it is not. Anyway, did I say Quadrophenia is a masterpiece? Well it is.
35. Sea and Sand – Two words: Great song. This track portrays the opera’s protagonist’s affinity for the beach as an escape from the unpleasant realities of home and life. The song is almost a mini-opera unto itself. The line “Here by the sea and sand, Nothing ever goes as planned” may be among the most revered lyrics in the bands repertoire. I personally think it’s the most underrated tune on the album. It is arguably the most important song in the entire opera from a lyrical perspective, with great lines like this:
“I just couldn’t face going home It was just a drag on my own. They finally threw me out My mother got drunk on stout, My dad couldn’t stand on two feet, As he lectured about morality. Now I guess the families complete, With me hanging round on the street Or here on the beach”
“I’m wet and I’m cold But thank God I ain’t old I should have split home at fifteen Why didn’t I ever say what I mean? There’s a story that the grass is so green, What did I see? Where have I been? Nothing is planned, by the sea and the sand”
Just a magnificent tune!
36. Bell Boy (Keith’s Theme) – Although Roger handles the primary vocals on this tune, the track also features celebrated vocals by Keith Moon (some of which are spoken with an exaggerated Cockney accent and some of which are sung in his natural voice). The song serves to reinforce the theme of disillusionment which is prominent throughout the album. The songs is a sonic tour de force with Moon’s pounding drums driving the song along. Roger and Keith provide brilliant treatment to the fine lyrics:
“The beach is a place where a man can feel He’s the only soul in the world that’s real . . .”
“Ain’t you the guy who used to set the paces Riding up in front of a hundred faces, I don’t suppose you would remember me, But I used to follow you back in ’63”
“Some nights I still sleep on the beach. Remember when stars were in reach . . .”
“People often change But when I look in your eyes, You could learn a lot from A job like mine. The secret to me Isn’t flown like a flag I carry it behind This little badge What says … Bell Boy!”
The band performed song during their 1973 and 1974 tours. It became a fan favorite largely due to Moon being given a spotlight to sing. Fans continued to request the song after the band dropped it from its live shows in 1975 up until Moon’s untimely death in 1978. More recently, it has been performed by the band using archival video footage of Keith Moon. The studio version is included here, together with a great live version from The Valley Stadium, Charlton, London, England on May 18, 1974 (with a what appears to be a somewhat intoxicated Pete Townshend).
37. The Rock – Like it’s first half instrumental counterpart song “Quadrophenia”, “The Rock” provides an “underture” type function in the opera. It essentially sums up all that went before in the story, before we are treated to the brilliant finish in “Love Reign O’er Me”. Pete Townshend said this song is intended to invoke the setting of Jimmy getting in a boat, going out to sea and sitting on a rock waiting for the waves to knock him off, which prompts Jimmy reflect on himself. It results in Jimmy ending up with the sum total of frustrated toughness, romanticism, daredevil and desperation (4 parts of his personality). Moon does a particularly masterful job on this one. In addition to the album track, I also include a wonderful orchestral version of the song (not performed by the Who) that really gives one the sense of the power of the song. If you only have 6 minutes and 49 seconds to listen to a track from Quadrophenia, listen to this one for the “Reader’s Digest version” of the rock masterpiece.
38. Slip Kid – This song was also intended to be included in the Lifehouse project (that absolute treasure trove of great songs). The song was resurrected to be used on The Who By Numbers album, since Townshend was suffering from writer’s block at this time. This was due largely to his disillusionment with the music industry as he began to age (he was turning 30), as well as a bit of a loss of confidence as a result of the self perceived failure of Lifehouse (despite yielding the Who’s Next album in the process) and also the relative lack of critical and commercial success for Quadrophenia (at least less than he expected or it received). The song has a brilliant opening, with pounding percussion, following by shouts of:
followed by Pete Townshend’s power chord guitar joining the party. The song features Townshend and Daltrey alternating vocal lines, so it should come as no surprise that I would choose to include it on the list.
The authority figure wisdom comes through in the lyrics:
“Slip kid, slip kid, slip out of trouble Slip over here and set me free Slip kid, slip kid, second generation You’re slidin’ down the hill like me No easy way to be free”
The song is a rather simple, yet powerful and forceful rocker, that reflects a classical Who song structure, style and sound. Despite those qualities, it has not been played live very often, which is a bit of a surprise. I have included The Who By Numbers version, as well as Pete’s demo.
39. How Ever Much I Booze – I could probably put the entire Who By Numbers album on this list, since I think it is so underrated. But I can’t and I won’t. But this song is a personal favorite of mine. Pete handles the lead vocals on this one, which again is a big plus for me. But it is worth noting that Daltrey refused to sing the song, possibly because the song was either too personal (to Townshend) or he wanted to make sure that people understood that it was Townshend that had the drinking problem and not him. Anyway, the lyrics are fantastic. Pete’s Demo, titled “No Way Out”, contains the following verse, which was not included on the version released on The Who By Numbers:
“I walk into a club, and know one seems to know me I have to tell the story of my life, to keep from being thrown out there and then It all seems so futile can I live with some shy stud who disowned me Can’t face the fact that once you open up for real you become ambivalent They both let you in, there ain’t no way out There ain’t no way out I don’t care what you say boy, there ain’t no way out Take it from me.”
Pete’s guitar work on the song is exemplary. The tune also has one of my favorite lines in any Who song:
“You at home can easily decide what’s right, By glancing very briefly at the songs I write”.
I include the album version, as well as Pete’s demo “No Way Out” and a great live version of the song from the Summit in Houston, TX November 20, 1975.
40. Dreaming From The Waist – As someone who is getting on in years, I find it easy to identify with this song. The tune deals with the restlessness associated with getting older. Townshend once stated that it was one of his least favorite songs to play onstage, referring to it as a “fresh turd” at the end of the song when the band played it at Kilburn in December 1977. In contrast, Entwistle claimed that it was one of his favorite songs to perform. It’s easy to see why Entwistle would say that, as the song contains one of Entwistle’s finest bass lines in all of the catalog (check out the exceptional live excerpt from Kilburn that I included here for proof). In addition to Entwistle’s great bass work, I love the Pete’s guitar licks, the fantastic Moon drumming and excellent lyrics like this one:
“I know the girls that I pass, they just ain’t impressed I’m too old to give up, but too young to rest”
Definitely one of the highlights of The Who By Numbers album and one of the finer tunes in the entire catalog in my opinion. I include the studio version and a live excerpt of the song featuring Entwistle’s bass solo supreme from Vetch Field, Swansea, Wales on June 12, 1976.
41. They Are All In Love – Just an incredibly beautiful song. Strangely, it was originally titled “She Loves Everyone”. Pete once said that the song was about what the band had become. That it was about money, about law courts, about lawyers and accountants. The band had a backlog of tax problems and unpaid royalties that they had to deal with and that as a result, he felt like crawling off and dying. The song does includes another one of my favorite Pete lyrics:
“Just tell me right now where do you fit in, with mud in your eye and a passion for gin.”
Sometimes the softer tunes can be among the most powerful.
42. How Many Friends – Where do I start? If ever there was a Buddhist anthem for me to identify with, this song is it. I really relate to the refrain:
“How many friends do I really have, that love me, that want me, that’ll take me as I am”.
This song touches me deeply. It apparently touched Keith deeply too, since Moon once said this was his favorite song on the album and he apparently cried when Pete played it for him. It’s right there with Naked Eye as one of my all time favorite Who songs.
43. New Song – I am always amazed at how many people think that Who Are You is one of the band’s weaker albums. I couldn’t disagree more. I think it’s a great album. And this opening track is simply a classic. It reaffirms Pete’s confidence after the self doubt that haunted him over the previous few years. Lines like:
“But there’s a danger that I’ll plagiarize something old”
“My hairline ain’t exactly superstar”
“I write the same old song you heard a good few times, admit you really want to hear it” and
“We drink the same old wine from a brand new jar, we get hung over, but we always survive it”
are purposely mocking and yet brutally true. Pete once stated that it’s a great sounding cut, but it’s a pity that it is full of such cynical sentiment. He also said that “New Song” was the first song he ever wrote on a polyphonic synthesizer. I suspect the synthesizers trouble a lot of fans, but I think it’s unfounded criticism. I think it’s a great, driving tune to open the album.
44. Music Must Change – I think this somewhat “faux” jazz/blues tune is really quite good. Although the lyrics are a bit cliché, the horns add a really nice touch to the song. I also enjoy the Barney Kessel influenced guitar licks. During Moon’s failed attempts to tackle this tune’s 6/8 time signature, the drummer complained “I know this is shit, but even though it’s shit I am still the best…the best Keith Moon-type drummer in the world!” And he was of course. Pete stated that hearing Roger trying to sing like Mose Allison after all the years the band was together was a real treat. Interestingly, the demo of the song was added to the Lifehouse Chronicles project that Pete released in 1999. So, kick back, relax and enjoy this one. As an added bonus, I include a high energy version from Chicago, IL performed on December 8, 1979.
45. Love Is Coming Down – This is another of the underrated tunes that really deserves a closer listen. The tune has strong lyrics, which Roger sings like a man possessed. Just a great effort by the band, which almost goes unnoticed on the album, probably because it’s one of the Who’s more subtle, tender numbers. Pete stated that he really loved the results they achieved when they employed the string orchestra on this track. I agree wholeheartedly. Pete also said that this track was not to every Who fan’s taste. He is right, but then again not every Who song has to sound like “a musical Mac truck”. Pete noted that the song was intended to be about the inevitability of triumph in the spiritual life. But sadly, when he was writing it, he indicated that he sensed the end coming for the band, both as for him as its creative engine and for Keith as its physical heartbeat. Anyway, for my money I think it’s a great song.
It has some great lyrics, such as:
“surrounded by people, a real heavy crowd, but inside I still feel lonely now…”
“I’m not a loser, But did I really win? Can I afford to go through it all again?”I hope I don’t sound as immature as I feel, But when I get wise, I’ll give you a call, my friend”
I include the studio version and Pete’s heart felt demo as well.
46. Don’t Let Go The Coat – I think the primary appeal of this song is Pete’s guitar work. He offers a slightly country, slightly Spanish-style guitar sound on the track. The lyrics appear to have a zen influence from Meher Baba, as well as a reference to Pete’s transgressions. Meher Baba told his disciples to “hang fast to the hem of my robe,” where the robe is a metaphor for his teachings. The song touches on themes of spiritual torment, fear of abandonment and the need to keep faith. Upon reflection, the one thing that probably holds this song back is Roger’s vocals. The lyrics just aren’t suited to Roger’s style, and the song probably would have been better if Townshend had handled the lead vocals himself. The song was basically played at every show during the band’s 1981 tour. I include the studio version and the live version from Essen, West Germany (Germany was still divided into East and West at that time) from March 28, 1981.
47. How Can You Do It Alone – This one is included for the great Entwistle bass lines (it certainly isn’t included for the lyrics). I also include two live versions, one from Chicago, IL on December 8, 1979, and the other from St. Austell from January 1981. The Chicago version is well before the album came out and is radically different from the studio version. The St. Austell version is also different and unique from either of the other two included versions, with Townshend handling the lead vocals rather than Daltrey.
48. Another Tricky Day – There was some initial hesitation to include this one, since it does receive a decent amount of radio play (perhaps among the most of all the tracks on this list). In fact, the editors of Rolling Stone Magazine rated “Another Tricky Day” as the Who’s 48th all time greatest song in 2015. But even being the best tune on their weakest album, it still isn’t a track that one would immediately place at the top of the list when rattling off the great Who tunes. But, the ringing guitar, Daltrey’s fine vocal work and the “this is no social crisis” refrain push this one comfortably onto the list. I include the studio version that was made into a video by the band, as well as the hyper-speed version taken from the Rockpalast show in Essen, West Germany on March 28, 1981.
49. I’ve Known No War – The “It’s Hard” album is a relatively weak effort by the band. Everyone knows “Eminence Front”, the best post-Moon song the band would record. But after that it is a pretty mixed bag. As Kenney Jones once reportedly stated, the reason that “Face Dances” and “It’s Hard” were relatively weak albums is because Townshend opted to keep all of the good songs for “Empty Glass” and “All The Best Cowboys Have Chinese Eyes”. Townshend stated that he felt this song was possibly one of the best tracks The Who ever recorded. I will have to disagree with his hyperbole, but the song does have that classic who sound and style. It certainly owes a nod to “Join Together”. The song reflects Pete’s personal thoughts on the Cold War. I do like the reference to Pete’s birthday in the song:
“On the nineteenth day of a spring day in May, Albert Speer was deleted”
It didn’t become an anthem for a generation as at least one critic predicted, and it never even garnered much interest in the band’s catalog, but it’s a solid track and worthy of inclusion on this list. The studio version is included here.
50. Cry If You Want – Another post-Moon track that has that classic Who sound and style. Roger is apparently quite fond of the song, as he pushed for its inclusion in the band’s live shows in 2006. Although it was included on the 2006 tour for a few shows before being dropped, the band later often incorporated it into the “My Generation” jams, but in a jazzier, truncated version. In addition to the studio version, I include a version contained in a great My Generation jam taken from Chicago, Illinois on September 25, 2006.
So, there you have it! 50 (or more) great Who songs that deserve a closer listen as the band celebrates 50 years. Happy listening and enjoy!
I am starting a new feature called Spotlight On What I’m Listening To, and the intent is to highlight an album that I am enjoying at the moment.
The inaugural featured album is Mel Brown – Chicken Fat!
Mel’s 1967 debut album on Impulse Records is an enjoyable sonic experience. It features a rather unique, smoking hot guitar and organ playing.
The title track, Chicken Fat, delivers some fine blues guitar work by Meland some Merle Saunders-ish organ work by Gerald Wiggans.
Another standout is the second track, Greasy Spoon. More heavily focused on Mel’s blistering guitar work, it really showcases just how great an artist Mel was (he passed away in 2009). If you like rockin’ blues guitar, you will love this track.
Home James is an enjoyable, slow blues number (although I have not included it here). Great to listen to when you just want to kick back and truly absorb the blues.
Hobo Flats has a very interesting, 1960s psychedelic like “vibration” to Mel’s guitar work.
Finally, I’m Going To Jackson is a wonderful track that has tremendous interplay between the acoustic and electric guitars. It’s the kind of track that if you listened to it on vinyl, you’d get up and keep picking the needle up after it’s over and plopping it back down for another listen.
Overall it’s just a superb debut album by a great guitar player. It comes with the Luv4music seal of approval. Do yourself a favor and sit and listen to the whole record. You will be a better listener for doing so. Until the next installment, enjoy!
Everyone knows I love the great grooving band The Revivalists. I am so stoked for their new album coming out on July 17. Trust me when I tell you that you have to run out and get this one right away. Get on board Y’All.
Check out the video of Keep Going one of the tracks from the new album:
Welcome to Luv4music. This site is dedicated to the love of all things music. For the initial post, I thought I would recommend one of my favorite places to go to find great music.
“RP is a blend of many styles and genres of music, carefully selected and mixed by two real human beings. You’ll hear modern and classic rock, world music, electronica, even a bit of classical and jazz. What you won’t hear are random computer-generated playlists or mind-numbing commercials.”
They have a great app that allows you to cache up to 12 hours of RP for offline listening, so you do not have to burn cell data time. Go to the iTunes store or Google Play and download the app and start listening to great music! You will quickly discover many bands and tunes you never heard before.
You can also suggest tunes to add to the library. But I warn you, they are illogically selective. I have suggested several dozen tunes and they have only added about a half a dozen.
You can also click on the song info and read the comments from Radio Paradise listeners. While not always enlightening, it is generally entertaining. Don’t forget to check out their playlist, so you can see for yourself the eclectic selection of tunes they feature.
If you do check it out, please let me know what you think. Check back from time to time and happy listening!
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