Folks, it’s time again for another edition of the RTH Thrifty Music series, hosted by yours truly. As you can read in greater detail here, this is the place where we discover — and, today, perhaps rediscover — interesting and timeless music that we might not bother with had it not been thrown away by somebody before we acquired it.
Today’s focus is a simple one: Classic Rock. There are times when I’m not even sure what the term means, but — like the art critic once famously said — I think we all know it when we hear it. Today’s triptych presents one vital tune I rediscovered; one questionable tune that, well, begs questions; and one new discovery that may help us define yet another Rock Niche that’s not really in need of further definition.
On to the show!
First up: “Rat Bat Blue”, from Deep Purple‘s otherwise execrable Who Do We Think We Are LP. I found the album for 99 cents, saw that it had “Woman From Tokyo” on it (one of my all-time DP faves), and thought it might have a few undiscovered treasures buried deep on its grooves. Wrong! This album sucks! However: I was downright startled to hear one song — “Rat Bat Blue” — for the first time in almost 30 years, and to be reminded of just how totally boss it is. Yeah, yeah, the “lyric” is retarded, but the band cooks, the riff is to die for, and the production is hard-rock perfection. Seriously — I admit I’ve got a huge boner for the Vanda/Young AC/DC studio sound, but this may be the greatest-sounding hard rock album in history.
I was also startled to realize that this song must have marked a major milestone for me as a young music listener, because as soon as I heard that riff come pounding out of the speakers again, I realized it’s one of those riffs that I’ve always had stuck in my head, and as crazy as it sounds, I almost mean that literally. Perhaps other musicians here will understand what I’m trying to say. It’s like the drum intro to the Clash’s “Revolution Rock”, or the opening fanfare to the theme from “Rocky” — it’s always been on instant recall in my head, so strong was its original pull. A riff by which all other riffs are measured. In this case, I had completely forgotten who wrote it, and where I’d heard it, until I plunked this dusty vinyl on the turntable. But now, the prodigal riff has come home at last. Slaughter the fatted calf and prepare to make merry, for the riff that was once lost is now found!
So this calls for answers to two questions:
1.) True or False: “Rat Bat Blue” is the most perfectly produced/engineered hard rock record of all time. (If false, provide alternative choice)
2.) What are your deeply embedded, “instant recall” riffs?
(Side note: you’ll thank me for pulling out the old tape splicer and dumping about two and a half minutes of Jon Lord keyboard Glory in the middle there. Trust me, the Hrrundi V. Bakshi radio edit is much preferable to the original.)
Up next, in the “maybe this song is a lot better than I gave it credit for as a teenager” category: “All About You”, from the Stones’ Emotional Rescue album. Once again, I found this el-pee for 99 cents in a bin somewhere, saw it was in pretty good condition (with the giant poster, which I had completely forgotten about!), remembered a few tunes from it I liked as a kid, and thought I’d take a chance. Well, the verdict is in, and the album is about as good as its reputation suggests — no idiotic, 21st-century Grand Funk Railroad revisionism here, it really is pretty mediocre from one end to the other. But buried at the very end of side two is a funny little song that we focus on today: a Keef showcase entitled “All About You”. What a weird number! Shambolic and burned out, even for a 1979 Keith Richards, it’s about being let down, tired, pissed off and disgusted — and it’s perfect, as far as that goes. But just when I started getting impatient with all of that, in walks a beautiful chorus: “Whoooo told me those lies… made me think they’re truuuue…” Wow! That’s downright pretty!
The point is: when I was a teenager, this song was the album’s number one needle-lifter. Now I’m having second thoughts. So the question for you is:
Is “All About You” due for a critical upgrade?
Last up today, the only real new discovery I have to offer: “Little Cog In a Big Wheel”, from Chris Youlden‘s City Child album. Who’s Chris Youlden, you ask? Well, it turns out he was the lead vocalist for Savoy Brown. This track is from his second solo LP, which it turns out is pretty solid throughout. What I found interesting about it was that it is definitely of a particular style, but a style that I don’t think anybody has bothered to label yet. That’s where you come in! So my question is:
What do you call this early- to mid-70s male vocalist stuff, that kind of sounds like a perfectly good (but not really great) Van Morrison or Boz Scaggs album? You know what I’m talking about: the kind of material Robert Palmer delivered before he went all Hollywood on us, back when his albums had grade-A ass on the cover. Eric Burdon kind of dabbled in this “soulful” material, too, but he was too f*cking crazy to actually deliver. The production is sweet — but takes pains not to be too “slick.” The English, white boy singer is determined to deliver some fine soul vocal chops, but has graduated past aping old Otis Redding tracks. What’s this stuff called?
Come on, RTH, I need some answers!
Enlightening selections, Hrrundi. Thank you. That Deep Purple song did sound great, but man, that stuff is so damn dumb I lose interest after one verse-chorus cycle.
You know what kills the Keef number, beside Keef’s disregard for the microphone? The sax. Ugh, every time that thing revs up all the somewhat cool first-take charms of the song go down the drain.
I know what you mean about this not-quite-blue-eyed soul music, but don’t include my man Burdon in this! (One day we may have to duke it out over Eric Burdon.) I will say one thing, regarding Burdon, however. What was it he described himself as in “Spill the Wine”, a long-haired leaping gnome??? Whatever he said, exactly, is key to understanding this genre. Think about it: All the guys who sang this stuff look (and sound like, if we could hear their voices) lawn gnomes: I propose Lawn Gnome Rock.
Apropos of nothing, Quentin Tarantino is on Conan as I type, verifying my suspicion that Tarantino is the person I hate the most among all people who I don’t know. Ugh! There’s nothing worse than the combination of desparate fanboy geek and cokehead. Keep me far away from this guy if we’re ever at the same party.
Firstly, amen on Tarantino, Mr. Mod! Reminds me of my mother getting apopletic with indignation whenever Sinatra’s “My Way” came on. “But it’s awful!” she would cry. “Just listen to it! Why is it popular?!” Anyhow, Tarantino is one of the people I would most like to trip on the sidewalk. Deeply, deeply closeted, with that smug gorgonzola smirk. His movies encapsulate what annoys me in post-Stern American culture.
Now. Mr. Bakshi. You give some powerful praise for an album that’s “otherwise excrable.” DP themselves always hated the record, and never played it live. But it may be my fave record of theirs. That and Fireball. I mean, what’s not to like in Super Trouper? Mary Long and Our Lady have always been hits with me. Smooth Dancer is Gillan’s much-deserved rip on Richie Blackmore, and is funny and rocks. What don’t you like, and why?
Townsman Hrrundi, I have not yet answered some of your questions.
I’d say “Ramble On” is the best-produced hard rock record EVER. I wish I could take off my shirt here in work and crank it up right now.
I’m having trouble with the “Instant Recall” concept. Isn’t the point of riffs to stick in the listener’s head? I’ve got thousands to choose from, but I was listening to some live Pere Ubu on the drive in this morning, so I’m gonna say the intro to “Navvy” – that backwards pinky rock guitar part followed by the pleading bass fills and then the no-bullshit drum stomp is a combination of riffs that I hold in extremely high regard.
And here’s another one, perhaps my Holy Grail of guitar riffs: Dave Gregory’s part in “No Thugs in Our House”. As I’ve stated many times before, every few years, when I sit down to write a new batch of songs, one of the first riffs I measure all my new riffs ideas against is that one.
I answered your other questions. You’re welcome, in advance.
Gen. Slocum — your selections from “WDWTWA” really surprise me. To my ears, they all sound unfinished, uninspired and just not interesting. I have a hard time thinking of stuff that sounds more like a band desperate to just produce *something* for *some* reason. And, look, my love for “Rat Bat Blue” should make it clear that I can give a wide berth for really stupid lyrics when I want to, bu the words on some of the songs you list are just awful, *and* sung without conviction. Nope, sorry, can’t go there.
But my praise for the album’s sound is sincere, and delivered with no reservation. This album is proof that really crappy music can be made to sound really great!
I know what you mean, at least regarding this song. Except for some of the band’s earlier ’60s-based material, I usually despise these guys, but this one track is presented in the most-appealing way possible.
1) Ramble On is a good nomination; Over the Hills and Far Away is another. Basically, Led Zeppelin was the best-sounding hard-rock band evah. But Rat Bat Blue is a good one.
Basically I’m going to do what I always do and say it depends: I can’t think of anything I would do to make Rat Bat Blue sound better, and that’s the mark of a well-produced, well-engineered song. But many songs join it at the top of the list.
2) Bitch. Brown Sugar/Bitch was the first single I ever owned. Often imitated (by me), never duplicated.
3) “Post-Van Morrison soul” works for me. Or, to borrow from the Youlden song, “Aquarian fonk.”
Oh, man! Youlden says “aquarian fonk” in that song? I gotta go back and listen again!
I’m thinkin’ the Youlden/Scaggs/Van stuff should be called “Post-Astral Soule.” With an “e” at the end.
I’m surprised nobody’s commented on Anita Pallenberg’s lack of modesty in that, uh, shot I posted.
Rick, what’d you think of that “All About You” number?
For that matter, what do any of you think? Don’t let the brilliance of these Thrifty Music postings leave you slackjawed.
All About You seems to point in the direction of Keith’s solo albums. Some of the tracks on those albums had an unexpected Al Green vibe. And by that time he had discovered a lower range in his singing voice, which worked well with the material. He also seemed to have taken more care with the recording. This track is a throwaway, interesting but it doesn’t fulfill its potential.
Tarantino is a real deal-breaker for me. Anyone who says that he/she likes his work is a person whose taste in film I must automatically question.
Rocks Off I think is perfectly engineered. Love the sound of the horns.
Growing up the riff I always had in my head was Cinnamon Girl. I still think highly of it today.
The Keef song sounded like 70s Dylan, okay, but rambling and unfocused.
Don Juan said:
The Keef song sounded like 70s Dylan, okay, but rambling and unfocused.
I say:
EX-cellent observation, herr doktor!
Glad you feel that way, because I feel basically the same. It’s probably an excellent mood-shifter in the album context, but I can’t see ever racing to the player put that track and that track only.