The good, the bad and the Cubs

Van Halen memory No. 1

Eddie Van Halen’s death takes me straight back to when and where I heard Van Halen for the first time.

Summer 1978, home from college, sitting at the Bar Phoenix in Schofield, Wisconsin, a dive bar I’d never been in. The Bar Phoenix had a reputation as a tough place, sort of a roadhouse. We college kids didn’t go there. An older, vaguely countercultural, working-class crowd went there.

But we were there in daylight, on a sun-splashed summer afternoon. We were 21 and had been going to bars for three or four years, so maybe we were getting to look like we knew our way around the block. But probably not. In any case, there weren’t too many people in the bar. It was cool.

Then “Eruption” came on the radio or the jukebox. (No MTV yet!) Mind blown.

It wasn’t long before I went out and bought “Van Halen.” Loved it. Still love it. Still have it.

Van Halen memory No. 2

By the time “Van Halen II” came out in 1979, I’d talked my bosses at the Eau Claire Leader-Telegram into letting me write record reviews. I’d worked at the paper for a year and change. I still was 21. I wasn’t all that sophisticated. All these years later, the cringe factor remains strong with these reviews.

I was stoked about the release of “Van Halen II.” Then I listened to it.

From my review of “Van Halen II” on Saturday, April 21, 1979:

“I want off the bandwagon and I want off now.”

“David Lee Roth seems intent on showing just how bad he can sing. His voice, kind of an I-dare-you stance punctured frequently by a howl reminiscent of a chicken with emphysema, gets boring quickly.”

Though I did like “Dance The Night Away” and “Beautiful Girls,” I didn’t like the rest of “Van Halen II.” Nor did I appreciate what Eddie Van Halen was bringing to the table.

Fun fact No. 1: Who remembers that the first cut on “Van Halen II” was a cover of “You’re No Good?” It was no good. Back then, Linda Ronstadt’s cover of “You’re No Good” from five years earlier was the only one I knew. Dee Dee Warwick? Betty Everett? No way.

Fun fact No. 2: For years, all I had were those two Van Halen records. I’ve since sold “Van Halen II,” never having played it again after reviewing it.

Fun fact No. 3: My other review that day was Joe Jackson’s “Look Sharp!” I liked that one but inexplicably compared him to George Thorogood in that both were serious about sticking to their musical roots. Yeesh, as the kids say.

Van Halen memory No. 3

The theme song to that wonderful summer of 1984, with many afternoons spent watching the Cubs chase their first playoff berth in forever.

Never saw Van Halen play live. Saw half of the group — Sammy Hagar and Michael Anthony — and they were pretty good on the Van Hagar songs.

I can only imagine what the real deal was like.

The most amazing Rhythm Ace

Russell Smith, first-rate singer, first-rate songwriter, died last week. He was 70.

The Amazing Rhythm Aces got lumped in with the country crowd in the latter half of the ’70s, but their sound — shaped largely by Smith — was a savory Memphis BBQ rub spiced with country, soul, R&B, swing, blues, calypso and rock.

When you dropped one of their records onto the turntable, it was time to kick back, put your feet up and pop open a cold beverage. You couldn’t help but smile at some of their songs and nod knowingly at the rest.

I could go on, but Russell Smith’s warm, laid-back voice and charming songs say so much more. A most pleasant listen, then and now. Enjoy.

Let’s start with “Stacked Deck,” 1975. That was the Aces’ debut, recorded at Sam Phillips Recording Studio in Memphis. If all you heard was “Third Rate Romance,” you had no sense of their versatility.

“Third Rate Romance.” The song that started it all. Still a damn fine song.

“The Ella B.” Swamp rock, choogling between Tony Joe White and John Fogerty.

“Who Will The Next Fool Be?” In which the Aces cover Charlie Rich.

“Emma-Jean.” Unrequited love for one of the “lovely lesbian ladies slow-dancing on the parquet floor” next door. Ah, life in the tropics.

“Why Can’t I Be Satisfied.” A bit like Fleetwood Mac at a jazz club, showcasing Barry “Byrd” Burton on guitar and some combination of James Hooker and Billy Earheart on piano and organ.

“The Amazing Rhythm Aces,” 1979, is another of my favorites. It was recorded at Muscle Shoals Sound with the Muscle Shoals Horns.

“Love and Happiness.” Russell Smith’s distinctive voice infuses this Al Green cover. A couple of Memphis guys.

“Lipstick Traces (On A Cigarette).” This was my introduction to the Allen Toussaint song first done by Benny Spellman.

“Say You Lied.” She left. Fine harmonies and fine picking by Duncan Cameron.

The Aces broke up in 1981, then got back together in 1994, releasing their own material. “Chock Full of Country Goodness” came out in 1998.

“The Rock.” He’s leaving. This one is co-written by Smith and Jim Varsos.

Technical note: I suppose the cool kids would just create a Spotify playlist, but I’m not on that, sorry.

 

Coming full circle

We had long ago committed to seeing Cher at the new basketball arena in Milwaukee. But then I saw Joe Jackson also was coming to town. Oooh, we really needed to see that one, too, even if the shows were six days apart, stretching both our concert and travel budgets.

The second show Janet and I ever saw together was Joe Jackson. We were both 22 and sooooo sophisticated then, traveling to Minneapolis to see him at the Guthrie Theater on the last Sunday night of October 1979. That ticket cost $7.50, or about $25.50 in today’s dollars.

We looked forward to our 40-year reunion with Joe Jackson at the always wonderful Pabst Theater in Milwaukee. It was everything we’d hoped for.

It took only three songs for the not-quite-sold-out crowd to get into the spirit of the evening — “Look over there! WHERE?” — the call and response in “Is She Really Going Out With Him?” That was one of the songs we heard 40 years ago.

It was a charming evening, with Joe Jackson enjoying the proceedings despite a bit of a head cold. “Time is a relentless, vicious bastard,” he said good-naturedly to all the old hipsters and cool chicks before tearing into another song.

Fun to see Graham Maby, the bass player then and now. Jackson’s drummer Doug Yowell was a revelation, pounding away like Buddy Rich. Equal parts thunderous and tremendous.

We were delighted that “Look Sharp!” his debut album from 1979, was one of five albums from which Joe Jackson is drawing songs for his Four Decades Tour. So we also got to hear “One More Time” one more time, along with “Sunday Papers” and “Got The Time.”

“Look Sharp!” is one of our favorite records. Janet and I had it in our individual collections long before we ever merged them. Our copies of “Look Sharp!” are among the early pressings — a package that consisted of two 10-inch EPs with a small “Look Sharp!” pin. Mine still has the pin. Janet’s pin is gone, and the picture of Joe Jackson on the flip side of her album has light blue crop marks from where she once used it to illustrate a newspaper review of the album.

Joe Jackson set list, Pabst Theatre, Milwaukee, on May 6, 2019

“Alchemy,” “One More Time,” “Is She Really Going Out With Him” “Another World,” “Fabulously Absolute,” “Strange Land,” “Stranger Than Fiction,” “Real Men,” “Rain,” “Invisible Man,” “It’s Different For Girls,” “Fool,” “Sunday Papers,” “King Of The World,” “You Can’t Get What You Want (‘Til You Know What You Want),” “Ode To Joy,” “I’m The Man.” Encore numbers: “Steppin’ Out,” “Got The Time,” “Alchemy (reprise).”

As for Cher, also an evening well spent.

It started with a scorching 45-minute set by Nile Rodgers and Chic despite being squeezed onto that tiny strip of stage in front of the Cher curtain. Some of their songs: “Le Freak,” “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah),” “Good Times,” “Let’s Dance,” “We Are Family” and “Get Lucky.” You get the idea.

I’ve never been to Vegas, but I imagine Cher’s show is what a Vegas show is like. Dancers! Lights! Stage sets! A loopy, rambling but endearing monologue! Nine costumes over the course of 16 songs!

Coolest part — for me — was “The Beat Goes On” and “I Got You Babe” done on a ’60s vintage go-go club set. On the latter, Cher sang to video and audio of Sonny. I’ve seen that work for Queen and the Monkees, and it worked nicely here, too. Also got a flashback from the video boards. I glanced over to see Cher and her dancers framed just as they were on her old TV variety shows.

But I also must report that Cher does not do encores. As “Believe” winds down, she walks to each corner of the stage and waves, and then to center stage and waves. Then she walks off and the lights come up.

Cher set list, Fiserv Forum, Milwaukee, on May 12, 2019

“Woman’s World,” “Strong Enough,” “Gayatri Mantra,” “All Or Nothing,” “The Beat Goes On,” “I Got You Babe,” “Welcome To Burlesque,” “Waterloo,” “SOS,” “Fernando,” “After All,” “Walking In Memphis,” “The Shoop Shoop Song (It’s In His Kiss),” “I Found Someone,” “If I Could Turn Back Time,” “Believe.”

Kind of absurd, but great memories

Hard to believe that Steve Goodman has been gone 30 years today. Leukemia.

Wasn’t it just yesterday that we met at the merch table after a show in Madison, Wisconsin? When he autographed my record to Joe, and not to Jeff? I still smile at that.

No, it’s been 31 years since he opened for fellow folk singer Leo Kottke at the old Madison Civic Center, a show I remember nothing about.

Kinda wondering what people remember of Steve Goodman today.

Probably most know him for the songs he wrote about his beloved Chicago Cubs. If you’ve visited here during the Christmas season, you know his charming live version of “Winter Wonderland” is one of our seasonal faves.

“It’s kind of absurd/when you don’t know the words/to sing/
walkin’ in a winter wonderland!”

I probably was introduced to Steve Goodman’s music in 1976 or 1977 by my friend Pat Houlihan, a folk singer from central Wisconsin who also introduced me to the music of John Prine, who was Goodman’s friend. I liked Goodman and Prine for the same reason. There’s a lot of humor in real life. They saw that, and wrote songs accordingly.

So let’s listen to some Steve Goodman. He wrote or co-wrote all but one song.

“Men Who Love Women Who Love Men,” an irreverent but perceptive take on sexual identity.

“The One That Got Away,” a duet with Nicolette Larson on a song wistfully remembering life’s missed opportunities.

Both from “High And Outside,” Steve Goodman, 1979. His second-to-last major-label record, on Asylum. Goodman produced it, but the arrangements are almost too lush, too rich for his sometimes-thin voice.

“You Never Even Called Me By My Name,” a country music spoof co-written with John Prine, and a hit for David Allan Coe. Goodman improvised the final verse to include references to Mama, trains, trucks, prison and getting drunk, which Coe thought every great country song needs.

“City Of New Orleans,” which really launched Goodman’s career when it became a hit for Arlo Guthrie in 1972.

Both from “Artistic Hair,” Steve Goodman, 1983. A wonderful collection of live performances from over a 10-year period. I’m generally not big on live records, but this is really the only way to get the essence of Steve Goodman.

“Souvenirs,” a duet with John Prine on the familiar song written by Prine and first heard on Prine’s second LP, “Diamonds In The Rough,” from 1972.

“Talk Backwards,” a goofy take full of double-speak.

Both from “Affordable Art,” Steve Goodman, 1984. This was the last record released before Goodman’s death. It’s out of print but is available digitally.

Thanks to Clay Eals, Goodman’s biographer, for the 30-year reminder.

Please visit our companion blog, The Midnight Tracker, for more vintage vinyl, one side at a time.

Stevie Nicks? USC Song Girls? Yes!

Crate diggers do it all the time. Whether it’s an LP or a 45, we’re always looking for fillers. Maybe we need a better copy of a record that’s been loved to death.

Or maybe we buy a record for one cut. This is one such record.

I’ve always liked the title track to Fleetwood Mac’s “Tusk” but never owned it until today. I’ve always dug the USC Trojan Marching Band as the backing group.

Lest my pal JB cop all my material for his radio show, I should mention that this record carried a list price of $15.98 when it was released in the fall of 1979. That’s $50 in today’s dollars. Would you pay $50 for a new double LP today?

I picked it up for $2, just so I could have a nice rip of this at long last.

“Tusk,” Fleetwood Mac, from “Tusk,” 1979.

Part of the appeal of “Tusk” is, shall we say, visual.

In that early video, there was the sight of Fleetwood Mac and that USC marching band recording it live at Dodger Stadium in Los Angeles. Oh, yeah, and Stevie Nicks wearing a sun dress and twirling a baton.

The first video comes from the old “Solid Gold” TV show. It features clips from the “Tusk” video along with the USC marching band in the “Solid Gold” studio. Oh, yeah, and the USC Song Girls also are in the studio to dance for no apparent reason. It’s not clear what the “Solid Gold” audience made of all that.

This behind-the scenes video on the making of the song “Tusk” apparently comes from “Fleetwood Mac: Documentary and Live Concert,” a 1980 release which appears to be out of print. It includes this great exchange:

Stevie Nicks: “Who are we to deserve the USC band to play for us?”

Christine McVie, carrying a glass of wine as they walk across the field: “Stevie, don’t be so humble.”

Stevie Nicks: “Oh, no, but I mean, really, that’s a lot of people playing …”

Oh, yeah, and later, more of Stevie Nicks in that sun dress, twirling that baton.