"I wasn't born to lose you" great lines fall off of him like it's nothing at all and Bob keeps his sense of humor through it all anyway. This was his 3rd classic album in a row in the 60s, arguably the greatest 3 album run by anybody - it took him less than 15 months and he had enough great songs for a whole other album too.....then he almost died, arose, ascended, a legend.
One of the many baffling things about (the amazing) The Who is how they (or Pete Townshend at least) fancied themselves an album band. They made some fine albums but they were a live band foremost and to me also a singles band - and Meaty Beaty Big and Bouncy was a compilation of staggering complexity and simple specificity.
This song sums up the tensions in their Rock and Roll overall, in the band itself, and in Pete especially - "Cut myself and see my blood" is a lyric here - the "why?" is complex, but the act is simple and specific.
The mighty Sonics were utterly bored by every development in Rock post-66 - to them Sgt. Peppers might as well have not existed. They played Rock as it existed in '57 and as it would be looked back fondly in '97 - they codified every animal impulse implicit in Louie, Louie and predated Iggy and The Stooges.
As American as apple pie....as good as apple pie with ice cream.
See, here's the thing about being a genius - not merely sometimes great, or occasionally brilliant, but a genius:
You write and perform this staggering song at age 21 (wtf!) play it live here (and sing it beautifully) - and then you never even bother to studio record it because well why would you, you have so many songwriting masterpieces failing off of you, that you can't even keep track of them anyway.
Not only were The Kinks an obviously great band they also were deceptively complex in how songs unfolded. In this single, one of many social satire songs they did incredibly well in their '66-70 peak, Ray Davies changes his voice and "acts" out the lyrics to make it more expressly cutting and well downright gloriously mean too - they may dress well themselves, but they hate fashion.
Often people who love movies really love The Kinks too because in terms of characters and topicality of material they wrote songs like they were screenplays ........and generously acted them out for you too.
To certain people - me in a lot of ways even actually - the Beatles lost a lot of their charm after '66 when they became more self-aware, drug addicted and well, pretentious. Paul started writing parody songs (along with some great ones), John became more bitter (along with being more sophisticated), George still bored everyone with random Indian songs (along with an occasional classic) and Ringo ......well he was always lovable but in a limited way.
They did more great work too after '66 - but they changed in ways you maybe didn't want them too and the Monkees essentially filled that vacuum, that "pop" space, by doing sub-Beatles songs that sounded like The Beatles in the 64-66 incarnation. This is one of their best:
You can literally go nuts playing and thinking about this album - Between The Buttons - where The Stones were sort of doing the Beatles/Kinks but it came out as them anyway - scuzzy, weird, fncked up - like they were high and playing with genres. There are a ton of songs here that they didn't really do afterwards in this same style and that album cover ........look at Brian's eyes......he's on something and it's not beer.
In ~1-2 years they would go on the greatest consecutive 4 album run in Rock and Roll history, Brian would be dead, and this album sounded (almost) quaint.
The Troggs - "With A Girl Like You" The Seeds "Can't Seem To Make You Mine"
All the cool kids know that these two 1960s obscurities are essential power pop and essential Punk (by the pacinoyes definition of the terms anyway).
Both bands had harder rocking hits too but these were their wimpy songs .....but they were great wimpy songs and they get covered by everybody....and chances are you probably like somebody's version of them and nobody ever changes them too much either .........because well they're awesome.
I talk a lot about "Power Pop" and one of the great things about it are bands who exist in the genre in some way (or in some songs) but don't pander to it.
That's the case with The Who and this song and this video too. Playing on the banks of the Thames in their very best clothes they come off as nice boys and slightly off and dangerous at the same time - like outside of this particular performance they may be something else.
The Who of 1965-66 especially were in every way fascinating - in look, sound, singular style and how they presented themselves (and who plays drums like that Keith!).
I often describe David Bowie as a "fake" - which in Rock and Roll before him was the worst thing you can be. But Bowie elevated that to an Art - in his singles at least and one of the things that allowed him is to have a wide range of taste. This song by one of Australia's great bands, maybe the first, serves the same purpose it did for him.
It's very pop and it's sort of punk(ish) for its time ........many know the cover that Bowie did, but it's perfect in this original form.....and the band is even aware of that they had a song that played both sides of the fence....
Last Edit: Sept 15, 2020 11:46:27 GMT by pacinoyes