What’s the matter, did the three versions of “Treat Her Right” not pack enough Mach Schau for you? Then I suggest you try the following: Continue reading »
Dec 102010
Dec 092010
Greetings, fellow townspeeps! Readers familiar with our ongoing Mach Schau series will know what the drill is here. Essentially, we’re looking to you to help explain why the performances we post are as compelling as we think they are. And by we, I mean me, of course. This time around, though… there’s a twist!
Following are three clips–all featuring the same song, “Treat Her Right”–a big hit in the early ’60s. The first two versions you’ll see are performed by the man who originally made the song a hit, Roy Head. Head was a white Southeast Texas soul man who got his start–very unusually for that time and region–playing in black clubs and juke joints. He was so convincingly “black” on record, in fact, that he would routinely shock audiences when the curtain rose. Then he’d get to moving and grooving, and, well, the following two clips will explain why the color of his skin no longer mattered.
Treat Her Right by Roy Head #1
Treat Her Right by Roy Head #2
Anyhow, the third clip is of the same song, this time as performed by perennial Schau-Stopper and RTH fave Tom Jones. You’ll see a different interpretation on display, but one which I venture to say is no less compelling.
Treat Her Right by Tom Jones
In any case, the drill remains the same: Discuss. Explain. Elaborate. Pick a favorite if you must.
Loading ...I look forward to your responses.
HVB
Dec 172009
It’s rare that so recent a post makes it back to soon for a Friday Flashback, but I just discovered some pot-stirring by Townsman mowgli321, a welcome newcomer to the Halls of Rock who’s showing his dedication to pushing forward intelligent rock dialog by dipping back into our rich archives. If you check out the recent comments, you’ll see some thoughtful dialog that is worth continuing. Please don’t be shy; we may be getting somewhere on this whole issue of bass players and failed guitarists!
This post initially appeared 7/10/09.
I recently ran across a period video for the Spiral Starecase‘s one Great hit, “More Today Than Yesterday,” and was immediately bowled over by the incredible coolness of the bass player in the band. Check out this clip, people, he’s got it all: great Look, great instrument, great poise/neck angle, great plucking and fretting hand action, and — most important — perhaps the greatest in-place stage sashay I’ve ever seen.
This got me thinking about what makes bass players “cool.” Can we please, for once, avoid nerdy nerdlinger terms like “in the pocket,” or “laying down the groove,” or “locking in with the drummer” to talk about what actually makes bass players “cool.” For once, can we apply the same fashion/attitude logic we reserve for guitar players to determine what makes impressionable 14-year-olds want to pick up the instrument?
I suspect this Spiral Starecase guy may have many of the answers.
HVB
p.s.: Chickenfrank, I’m especially looking at you for some thoughtful reflections on this video, and cool bass players in general.
Dec 162009
While conducting research for my next round of Thrifty Music offerings, I came across this number, enthusiastically performed by Allen Toussaint‘s favorite New Orleans soul shouter, Lee Dorsey — and backed up by Stax Records’ 1967 touring band!
As we always do in the Mach Schau series, let’s turn our attentions to what exactly it is that makes this performance so exceptional. I have a number of observations, but I’ll start the ball rolling with just one: the trumpet player rides his horn with gusto. Excellent! What do you see?
I look forward to your responses.
HVB
Nov 082008
With this post, we inaugurate a new running series in the Halls of Rock Town, in which we collectively examine a single, stand-out performance, to focus on and assess its “mach schau” factor. To kick things off, I bring you Tom Jones in 1969, doing what he did best: moovin’, groovin’ and making women get all twitchy *down there*.
I once read an insightful comment comparing Elvis to Tom Jones, suggesting that Elvis had all the talent he needed to be a great soul singer, but all he ever wanted was to achieve whitebread success on the stage in Vegas. Tom Jones is/was the opposite: someone who clearly yearned to be a soul shouter, but was blessed with a God-given knack for Vegas-style entertainment excellence. Sometimes I agree with this assessment. When I watch things like this, though, I’m not so sure — and I’m not sure I care!
So join me, won’t you? Watch Tom Jones doing his thing, then tell me: did he or did he not MACH SCHAU?
I look forward to your responses,
HVB
Oct 262007
Let the crusade continue! Townsman Hrrundi has supplied us with three audio tracks by what he feels is the most stupendously awesome, rockin’ combo of the new millenium, Supagroup! You have got to hear these tracks! If you’re like me and you felt cheesed out by that video that our Minister of Mach Schau, HBV, posted yesterday, you’ve got to listen without prejudice, without seeing a bunch of bright-eyed and bushy-tailed guys hopping around and slashing their axes like they were playing tennis rackets in front of the mirrors in their childhood bedrooms. I thought I was watching a scene from The Naked Brothers Band, a Nick kids’ show that my boys rightfully scoff at before flipping the channel. So…without further fanfare…strap it on, click on the following song titles, and let the crusade continue!
Supagroup, “Lonely at the Bottom”
Supagroup, “Born in Exile”
Supagroup, “Sold Me Down the River”
