Friday Night Jukebox, Vol. DXI--The Who: Don't Let Go the Coat

 Believe it or not, I had three quarters of this complete last Saturday....

A few years back my youngest son was playing the The Who's video Thirty Years of Maximum R & B Live (actually the 2009 re-release of it), and when this week's tune came on...I realized that over time I had completely forgotten about the song.  I literally loved this song when it was first released, and somehow it had disappeared from my memory. Makes me wonder how many other musical gems have faded from my mind these many years....

I've written about The Who twice (can't believe it's only twice), Vol. XLII and Vol. CLXXX, and I wrote about a song each by Pete Townshend (here) and Roger Daltrey (here), so there's really not much else to add other than the fact that we saw them live in 2022, and for a couple of guys just about touching eighty years of age, Townshend and Daltrey put on a hell of a show.  Also to note that, amazingly enough, they're still my favorite band....

"Don't Let Go the Coat" was the second single released from The Who's 1981 album, the rather profile rhythmically entitled, Face Dances.  The single reached #47 in their native U.K., and a whopping #84 (but still with a bullet!) in the U.S.  The album fared much better, hitting #2 in Great Britain, and #4 here in America.

Fun Fact:  The cover for Face Dances is composed of sixteen different paintings of the band members (four of each) as painted by English painters.  The concept for the cover came from one Peter Blake whose musical claim to fame is designing the renowned cover for an album you may have heard of:  Sgt. Pepper's Lonely Hearts Club Band.

There's some disagreement as to what "Don't Let Go the Coat" refers to, with some believing it's an ode to Townshend's spiritual advisor Meher Baba, and others believing it's a nod to his parents who helped him numerous times during his struggles with alcohol and drugs. Personally, and this could just be that I'm not imaginative enough, I thought the coat was hope.  Anyway, the song is something of a departure for The Who, as it's a more of a pop ditty than some of their power rock from their earlier days (Wikipedia called it country rock, but I flat don't see it), and very much shows their versatility.  The critical reception to the tune was somewhat lukewarm, but what the fuck do they know?  Daltrey delivers a resolute vocal performance, Townshend lets loose with some wicked jangly guitars (with a hint of Spanish guitar in his solo), John Entwistle and Kenney Jones keep the beat smartly, and its lyrically inspiring and musically (especially the chorus) as catchy as ca-ca-ca-catchy can be.  The song was a joyous surprise when I first heard it, and an even more joyous surprise when I was reintroduced to it so many years later--and another in the wonder of all wonders that makes up great pop music.

Lyric Sheet:  "You friends all pass all pass for life is just a market/But you have to finish everything you started/So I live my life tearing down the runway/Sure to get the hang of hanging in there someday..."

Enjoy:

Republicans = Nazis

Peace,

emaycee

Friday Night Jukebox, Vol. CD--Joe Purdy: Why Do I?

 Special shout out to my son-in-law this week, as a couple of years back at a family gathering, he suggested I give this week's featured tune a listen.  He nailed it--much like last week's music post (though the two songs couldn't be more dissimilar), one listen was all it took to fall in love with it.  Couldn't help but notice that as I was playing it this week in preparation for writing this week's music post that my wife asked what the song was...which usually means she's taken a hankering to it, too.

This week's bio paragraph is going to be mercifully short, as neither Wikipedia nor Joe Purdy's website had much of a history.  Purdy is from northern Arkansas and began releasing albums in 2001.  He's had several songs featured in movies and television shows, and in 2017 made his acting debut in a movie called American Folk.  For his career, Purdy has released 16 studio albums (which is quite the output for 21 years), which have had over 800,000 single downloads.  His latest album was released in March of this year, and he is currently on tour in support of it.

Fun Fact:  After Purdy played at the Wireless Festival in Leeds, England, Pete Townshend of The Who (like there's another Pete Townshend of some other band I'd be mentioning....) enjoyed Purdy's tunes so much he asked him to join him and his girlfriend Rachel Fuller at a series of their acoustic shows known as "In the Attic."

"Why Do I?" was released on Purdy's fifth album, Only Four Seasons, in 2006.  Unfortunately, neither song nor album came anywhere near the Billboard charts.  In fact, the only link I could provide for either was from AllMusic, which merely denotes that both were officially released.  

The more I listen to it, the more "Why Do I?" reminds me of the best of alt-country.  Purdy's lyrics are a subtle foray into the sorrows of an ordinary man (not sure if the protagonist a) has a problem with alcohol, b) a problem with happiness, c) a problem with being lonely on the road, or d) some combination of the three, though it really doesn't matter), and show a quiet introspection that is the hallmark of a songwriter coming into his own.  Purdy's vocals gently render the sadness that is part and parcel of loneliness and never once does he let them take a maudlin turn.  The music compliments it all with a slow drawl, and I have to admit that I was particularly enamored of the instrumental breaks which well captured the protagonist's inherent uncertainty.  A smart song for people who appreciate smart songs...just like my son-in-law.

Lyric Sheet:  "So why do I get so lonely/When there really ain't nothing wrong/'Cause I can sleep just fine when you hold me/Can't sleep at all when you're gone..."

Enjoy:

Republican = Traitor

Peace,

emaycee

Friday Night Jukebox, Vol. CCCLXXXIII--Roger Daltrey: Without Your Love

 For those wondering, while last week's Friday Night Jukebox featured Who band mate Pete Townshend, the next two weeks posts will not feature John Entwistle or Keith Moon as I have zero familiarity with their solo work.  There's only so much time....  

As with last week's post, this week's bio recap will be mercifully short as I've already written about the Who a couple of times.  Roger Daltrey was actually the founding member of the Who, as Townshend and Entwistle originally joined his band The Detours.  Daltrey was known for leading the band and settling arguments with his fists and was at one point fired from the band for beating up Moon for supplying drugs to Townshend and Entwistle.  Daltrey has appeared in numerous movies and TV shows, most notably the film version of the Who's rock opera, Tommy.  For his solo career, he has released 10 studio albums (with two top ten LPs in his native U.K.), and 42 singles (with a top ten in Great Britain and a top twenty here in America).  As noted in last week's bio for Townshend, Daltrey is involved in their charity for teen cancer, and has loaned his talents to numerous charitable events through the years.

Fun Fact:  Daltrey kept extremely busy throughout the course of his younger days in the fine art of procreation.  In addition to the four children he has from his two marriages, Daltrey has four other children from various relationships throughout the sixties.  

"Without Your Love" was released as a single in 1980 from the soundtrack to the film McVicar (a biopic in which Daltrey starred as the title character).  The single reached #55 in the U.K. and #20 (with a bullet!) on the Billboard Hot 100 (it hit number two in the Netherlands--so many cool Dutch kids!).  The album hit #39 on the U.K Albums Chart, and #22 here in the United States.

While the song is catchy as all hell and the backing music is tastefully understated, this song is all Daltrey's vocals.  Daltrey weaves the tale of a man trying to find his place in the world (more or less the story behind the film noted above) but realizing that no matter where he ends up it means nothing without the love of his life.  Daltrey sings with all the calmness of a man who has made his peace with his life, and delivers a performance that would make the Gods of Love themselves smile.  A lovely and loving ballad.

Lyric Sheet:  "And if I could travel far/If I could touch the stars/Where would I be without your love?"

Enjoy:

Republican = Traitor

Peace,

emaycee

Friday Night Jukebox, Vol. CCCLXXXII--Pete Townshend: Let My Love Open the Door

A few years back I was watching the tail end of Kevin Smith's movie Jersey Girl when this week's tune began playing over the final scene, and my youngest son's ears perked up and he asked if it was perhaps a Who song that he was unfamiliar with...alas, I had to tell him that, no, it was not and was rather a solo effort from Pete Townshend (which may be the next best thing).  His only concern thereafter was how quickly I could add it to his favorites playlist....

As I've covered the Who a couple of times already (here and here), this week's bio recap will be mercifully short.  Pete Townshend, songwriter and guitarist extraordinaire, has long been the guiding force behind the Who, but through the years has released solo albums here and there, and while he has not had quite the critical and commercial success of that other band, has done quite well nonetheless.  Townshend has released seven studio albums (with one top ten here in the States), and 17 singles (again with one top ten in America).  Ever the Renaissance man, Townshend has also dabbled in writing (essays, short stories, a novel), and has helped develop both Broadway plays and orchestral renditions of his work with the Who.  Townshend is also quite active (with Roger Daltrey) doing charitable work for children with cancer (including a wing at UCLA), and as a former addict himself, has helped support rehabilitation centers for drug abusers in his native U.K.

"Let My Love Open the Door" was the second single released in the U.K. from his 1980 album Empty Glass, but the first single released in the United States.  Somewhat surprisingly (because of the Who's popularity in their homeland), the single and the album did much better here than across the pond.  In the U.K. they peaked at #46 and #11 respectively, while in America the single reached #9 (with a bullet!) and the album #5.  So many cool kids here at home!

Fun Fact:  Townshend's peak position for his highest charting single was also the same as the Who's highest charting single ("I Can See for Miles")--number nine.

In the liner notes for an anthology LP of his solo work, Townshend claims that "Jesus sings" on this single--and that's all you really need to know about this wonderful "ditty."

Lyric Sheet:  "Release yourself from misery/There's only one thing gonna set you free/That's my love..."

Enjoy:

Republican = Traitor

Peace,

emaycee

Friday Night Jukebox, Vol. CLXXX--The Who: Who's Next (Album)

Another year has passed, and as I turned 59 last week, we have another edition of "It's My Birthday and I'll Write About a Favorite Album If I Want To..."

I've written about The Who before on FNJ so we can dispense with the weekly bio--not that The Who even need one.  They are without a doubt my favorite band of all time, and their Holy Trinity of Albums (Tommy, Who's Next, and Quadrophenia) released in succession may only be rivaled by the Beatles who released so many classic albums in a row I'd need a whole post to list all of them (slight exaggeration...) and maybe Springsteen's quartet from Born to Run through Nebraska.  For me, Who's Next is easily one of the five greatest albums of all time, and is Pete Townshend's magnum opus--an album filled with one rock classic after another. So without further ado:

Baba O'Riley--I noted a couple of weeks back that "Heroin" by the Velvet Underground, in my humble opinion, may be one of the best rock songs ever written--and some of it's fiercest competition might come from this song.  Literally the perfect musical storm:  vocals, instrumentation, music, and lyrics come together in a way few songs ever have. The best song The Who have ever done, bar none--and lyrically one of the sparsest.  Favorite lyric:  "Out here in the fields, I fight for my meals/I get my back into my living/I don't need to fight, to prove I'm right/I don't need to be forgiven..."

Bargain--A love song that would border on obsession...until Townshend sings the third verse, and you realize that love can be both a blessing and curse.  Catchy as all hell--a very underrated Who tune.  Favorite lyric:  "I look at my face in the mirror/I know I'm worth nothing without you/And like one and one don't make two/One and one make one..."

Love Ain't for Keeping--Lyrically this one reminds me of taking place in ye olde England--lying in a field with your baby not far from the cottage you built with your own hands.  Musically, it bounces from its ballad laced verses to an staccato, rat-a-tat chorus.  Nonetheless, another nice, if short, song from the album.  Favorite lyric:  "But the air is perfumed/By the burning firewood/The seeds are bursting/The spring is seeping/Lay down beside me..."

My Wife--Written and sung by John Entwistle, the song chronicles a man who stayed out far later than he should have getting drunk and now has to run from his wrathful wife.  Both comical and foreboding, the song shows another side of The Who.  The ominous horns are the work of comic genius.  Favorite lyric:  "Give me a bodyguard/A black belt Judo expert with a machine gun..."

The Song Is Over--One of my favorite songs on the album.  Townshend sings the vocals on this one as he tells the story of a relationship that has ended...by comparing it to a song.  Heartfelt and introspective, another in a long line of songs written by Townshend that remind you just how great of a songwriter he was.  Favorite lyric:  "The song is over/I'm left with only tears/I must remember/Even if it takes a million years..."

Getting in Tune--Who's Next was originally going to be an album called Lifehouse, that was supposed to be a follow up to the rock opera Tommy, and telling the story of a world taken over by totalitarianism that is redeemed by music from The Who.  When I read this my first thought was to marvel at the chutzpah, and my second was to wonder if The Who can save us from Donald Trump and the republican party....  A celebration of the healing power of love and music.  Favorite lyric:  "I'm singing this note cause it fits in well/With the way I'm feeling/There's a symphony that I hear in your heart/Sets my head a reeling..."

Going Mobile--An ode to the joys of owning a mobile home and taking to the road.  Uh, yeah.  One of the best pop songs Townshend ever wrote, and it truly conveys the joyousness of hitting the road.  Easily the funnest song on the record, with the vocals courtesy of Pete Townshend.  With my pop sensibilities, this is the first song on the album that grabbed me back in the day.  Favorite lyric:  "Hee, hoo!/Beep beep!"

Behind Blue Eyes--Quite possibly one of the most compassionate rock songs ever written--and it's sung from the viewpoint of a villain seeking an understanding of what it's like to be the bad man in search of a little empathy.  Another song that shows the sheer brilliance that is Pete Townshend.  Roger Daltrey's vocals for this one are as good as they get, especially as the song starts as a ballad and then segues into a balls out rocker.  One of The Who's most popular songs, and rightfully so.  A masterpiece.  Favorite lyric:  "And if I swallow anything evil/Put your finger down my throat/And if I shiver, please give me a blanket/Keep me warm let me wear your coat..."

Won't Get Fooled Again--An epic conclusion (eight and a half minutes) to an epic album--though it's seen as an anti-revolution song, I think it's more of an observation that revolutions all too often don't live up to their promises. Together with "Baba O'Riley" this song was the trailblazer for synthesizers in pop music.  Daltrey's scream of righteousness toward the latter part of the song is the perfect ending for a perfect album--it's an anthemic unleashing of the rock and roll soul.  Favorite lyric:  "And the parting on the left/Is now the parting on the right/And the beards have all grown longer overnight..."

For lyrics freaks like me, all the words can be found here.

If you have the time, enjoy:

Fuck Donald Trump,
emaycee

Friday Night Jukebox, Vol. CLXIV--Thunderclap Newman: Something in the Air

This week's tune remains as relevant today as it did when it was originally released--there is something in the air here in 2018 and it does smell like revolution (just ask the students at Marjory Stoneman Douglas High School in Parkland, FL)...

Thunderclap Newman was formed by Who mastermind Pete Townshend (who also produced their work) and its manager, Kit Lambert, in 1969 to showcase the talents of John "Speedy" Keen, a former roadie extraordinaire for the Who.  The band had a short history--by 1971 they were done, having released just one album and embarking on just one short tour...and having a hit single that even nearly fifty years later is almost universally recognized.  Sadly, all three of the band's original members--Speedy Keen, Andy "Thunderclap" Newman, and Jimmy McCulloch are no longer with us.

Fun Fact:  Townshend played bass for the band on its recordings, under the pseudonym Bijou Drains (you got me...).

Released in 1969, "Something in the Air" was originally written by Keen for the movie The Magic Christian.  It would go on to become #1 in England for three weeks, and hit #37 (with a bullet!) on the Billboard Hot 100.  Thunderclap Newman's only album, Hollywood Dream, was released nine months after the single, and had virtually no commercial success.  The band did have another minor hit in England with the song "Accidents"--which is most noted for rivaling only "Softly As I Leave You" for having the saddest subject matter of any song ever written....

"Something in the Air" is a literal and figurative call to arms--the world was changing and it was time to take it upon ourselves to make the world a better place.  The music and instrumentation has an almost otherworldly quality to it--its boldness matches the boldness of the call to revolution.  There's some nice guitar work by McCulloch (who was all of 16 at the time), and Keen's drumming helps to add to the song's power.  There's a dandy piano break by Andy Newman about two thirds of the way into the song that is at times both beautiful and chaotic before the song breaks on through to the other side (to quote a phrase) and closes with an almost hopeful, somewhat prayer-like plea for us all to get it together and embrace the moment.  It was a one-off moment of genius for Keen who had the good fortune to have Townshend's as a Muse--and they created a pop classic for the masses.

Liner Notes:  "Because the revolution's here, and you know it's right/And you know that it's right/We have got to get it together/We have got to get it together now..."

Enjoy:

Fuck Donald Trump,
emaycee

Friday Night Jukebox, Vol XLII--The Who: Baba O'Riley

The Beautiful Boy turns eleven today, and in honor of that glorious achievement, Friday Night Jukebox is going to pay homage to his favorite band (and, in my ever so humble opinion, the greatest rock and roll band ever), and his favorite song by said band.

Formed in 1964, the quartet of Pete Townshend, Roger Daltrey. John Entwistle, and Keith Moon, have left a legacy that is arguably matched only by The Beatles, The Rolling Stones, and Bob Dylan.  Between 1969 and 1972, The Who released three albums (Tommy, Who's Next. and Quadrophenia) that are worthy of any top ten list.  They also released a multitude of wondrous singles, were considered one of the best live bands ever, and set new standards for both music production and the use of the rhythm section (in this case, bass and drums).  Rock and Roll Hall of Fame inductees, a Lifetime Achievement Award from the Grammys, and literally over a hundred million records sold--their influence on rock and roll has been felt far and wide.  And one thing you can say about the Who--there's no jazz or blues or classical influences.  They swore on their music bible in the church of rock and roll.

The most compelling aspect of "Baba O'Riley" is the sheer enormity of the song--there is a joyous power to it, and in it is the soul of triumph.  From the kid on Christmas morning excitement of the opening synthesizer movement to the front and center of the Entwistle's bass and Moon's explosive drumming the intro is one of the most recognized in rock and roll history.  It takes nearly a minute before Daltrey's vocals appear, and they are well worth the wait.  Bold, triumphant, and proud, Daltrey is a man on a mission.  And only when the first verse is done does Townshend's whirlwind guitar arrive, steamrolling the listener into aural ecstasy.  Throw in Townshend's unforgettable "teenage wasteland" vocal verse, a return to Daltrey, and closing it out with some dancing the jig fiddling and you have a song that underscores why you spent so much of your precious time on this planet listening to pop music, and makes every second of it ever so worthwhile.

Two more quick points:  first, the intricacy of the music and lyrics are utterly amazing in the simplicity (it's power chords and brevity in words) of the song and its sound, and second, that the Who were very much a sum of their parts.  Four men who literally had fist fights amongst themselves came together musically as one and created a song as close to perfection as a rock and roll can logically get.

Fun factoid:  The Beautiful Boy amazed his kindergarten teacher by being able to name all four band members and their instruments....

Not to ruin a lot of teenagers dreams that their youthful disillusionment was being addressed in the line "it's only teenage wasteland," but the line was actually a snide poke at the hippies who overdosed on acid at Woodstock....

Enjoy:

Peace,
emaycee