Is it just me who sees a band photo like the one above and now immediately thinks "you're not stood far enough apart?" What has the world come to?
You may recognise the gentleman on the right as our current Poet Laureate, and native to these parts. Simon Armitage. Oh god, you're probably screaming, Rol's going to bang on about how Simon Armitage comes from the same village as his dad again, and how he now lives less than a couple of miles down the road from him again, and how he's spent the last 20-odd years secretly stalking him without ever actually meeting him. Again.
Some friends of Louise's were out walking on the canal the other day, and who did they bump into? Lovely man. Had a nice chat, they did.
Grr.
(If that doesn't get your goat as much as mine, consider this: Another friend of Louise's, who lives in Brighton, regularly bumps into Nick Cave. They're on a smile and a howyadoing acquaintance now.)
And don't even start me on Guy Garvey on 6Music. Every week, it's "here's my best mate Simon Armitage..."
My life in a nutshell. Standing outside the party and wondering why I didn't get the invitation.
Anyway, I have written many times before about my admiration of Mr. Armitage, both as a poet and a part-time pop star. I saw his last band, The Scaremongers, live at Hebden Bridge Trades Club, you know, many years ago. So I suppose I have at least been in the same room as him once. Before the restraining order.
His latest musical offering is LYR, alongside musician Richard Walters and multi-instrumentalist Patrick Pearson. I'm guessing the name is something to do with lyrics. Armitage's mournful northern tones are given haunting and evocative backing that's quite some distance from the indie shambles of the Scaremongers... but lovely nevertheless.
But you're most likely to have heard the lead single from their album Call In The Crash Team, Never Good With Horses, which received a smattering of airplay.
This, though... this is my favourite thing from them so far. A live isolation recording of that single, shorn of fancy production, but still achingly beautiful...
Some time ago (back in March 2018) I started a new series on the blog called Anyone Can't Play Guitar, which was supposed to be an ongoing tribute to my favourite guitar solos. There was only ever one post. I may argue because it couldn't be beaten... although I did intend to follow it with a post about Richard Thompson, the best guitarist I ever saw play live.
The baton may be very dusty, but Rigid Digit just picked it up and ran with it...
RIGID DIGIT’S TOP 10 GUITAR SOLOS THAT DON’T SEEM TO MAKE
THE USUAL BEST OF ALL-TIME LISTS:
Not those 9,473 notes a minute shredding solos so beloved of
poodle-haired rockers who believe Eddie Van Halen is God.
These are (in my mind) perfectly captured moments of musical
brilliance using 6 steel strings and a plank of wood.
And these – brilliant though they are – rarely get the
plaudits they deserve.
This song, like many other Walker Brothers tracks is
dominated by Scott Walker’s moody baritone.
The arrangement and that vocal would usually be enough, but then the solo
arrives and takes the track to another level.
The internet, not always the most reliable of places, cites many options for
the provider of this solo, including Big Jim Sullivan, Jeff Skunk Baxter (later
of Steely Dan), and John Walker- who
was actually a Walker Brother, but what are the chance of a member of a 60s
band actually playing on their own song?
Popular opinion suggests the widdling was by Alan Parker -late of Blue Mink,
and whose guitar work was heard once a week for nigh on 10 years as a member of
CCS who did the “Whole Lotta Love” version that introduced Top Of The Pops
Mick Taylor joined The Stones in 1969 replacing Brian Jones,
and within a month had provided overdubs and guitars for ‘Let It Bleed’ and was
sitting at Number One with “Honky Tonk Women”.
Taylor’s musical chops were never in doubt – he was a member of the Blues
Guitarists' finishing school (John Mayall’s Bluesbreakers) at 16, and is a key
player on the Stones ‘Sticky Fingers’ album.
“Sway” from that album ranks as a high point, but the solo on the album version
of “Dead Flowers”, great though it is, falls just short.Not when played Live however (as seen here) –
Mick Taylor is effectively soloing all the way through the song.It’s cool, laid-back, laconic even, but fills
every gap required to be filled.
With Brian Jones, they were the second greatest pop singles band in the
UK.With Mick Taylor, they were
(probably) the greatest Live Rock n Roll Band standing on a stage.
Hereford may not be the Rock n Roll Capital of the World,
but it did provide half of Mott The Hoople, and three quarters of The
Pretenders.And it was one of those
Pretenders with a blond mane and a Mott The Hoople and Cream fixation that came
up with (on the spot in the studio) this sublime solo which elevates the song
to one of the finest in The Pretenders catalogue.
James Honeyman-Scott died in mid 1982 leaving a legacy of two very good albums
with The Pretenders, containing his intricate guitar work.We will never know if “Kid” was a one-off, or
would there have been more to come?
How many notes does a guitar solo actually need?More than two is surely just an extravagance.
Pete Shelly obviously thought so, providing a bare-bones “cheeky two note
solo”.Any more than that would surely
just inspire boredom in the listener.
Lifted from their first EP, which is held as the first independent single, and
the last Buzzcocks outing before Howard Devoto parted for the more progressive
sounding Magazine (almost denouncing Punk, and inventing Post Punk before Punk
had even got going).Post-Devoto,
Buzzcocks went on to release a string of the finest singles of 1978/79.
Although this may be unfair to Dan members in the early
days, the band was basically Donald Fagen and Walter Becker, plus a supporting
cast.The parent album (‘Can’t Buy A
Thrill’) did feature guitarists Jeff "Skunk" Baxter and Denny Dias as
full time members, but the guitar work on this was supplied by session
guitarist Elliot Randall – a man who has been offered many full time band
positions (The Blues Brothers and Toto to name two) but turned them down to
remain a gun for hire.And with this on
your CV, the work may not be thin on the ground.
(I refer the honourable gentleman back to a previous post on this very blog. - Rol.)
When this track is played on the radio, it always seems to
cut before the solo starts – a real shame that.The solo is an integral part of the song and provides the perfect coda.
Not, as often believed, played by Dave Gilmour (although Gilmour was a key
figure in Kate Bush’s signing to EMI), but supplied by a session guitarist (and
Kate’s now full time band member) who’d previously appeared on Bay City Rollers
records, and would later play with Bucks Fizz.
A sublime solo providing counterpoint to Peter Perret’s
weathered and withered vocals.
John Perry delivers another solo almost the equal on “The Beast” (from the same
debut album), but in the context of this song it lifts it to another level.
They may only be truly known for this one song, but it’s not a bad legacy, is it?
Who said Punk and New Wave should have no guitar solos or standout
musicianship?
Guitar solos usually pop up about 2/3 through the song –
either just after the middle eight, or just after the second chorus.
Not this one – Glen just can’t wait to get it out – one verse and chorus, and
let it out.Oddly placed perhaps (55
seconds in), but lets the song grow and tell the story whilst you’re still
marvelling at the musical dexterity.No
screaming notes, fretboard divebombs, just pure understated brilliance.
See also “Some Fantastic Place” for another example of Tilbrook’s fretboard
dexterity
Think of “Baker Street” and the stand-out memory has to be
the saxophone (not played by Bob Holness, but a great urban myth
nonetheless).But vying for attention is
the minimal, almost-skeletal, understated, yet oh so powerful guitar solo.It’s played so cleanly it could almost be a
squealing Hank Marvin meets Mark Knopfler affair.It is also (apparently) a big influence on
Slash and the basis of the solo in ”Sweet Child O’ Mine”, and once you know
that you can, sort of, hear it.
1. Goodbye To Love – Carpenters (Tony Peluso)
I’m not a fan of the MOR stylings of this lot, and I’m not
going to call this a Guilty Pleasure, but that fuzzed-up Guitar solo is a mighty
fine thing.
He plays it straight first time round (still fuzzed, but basically the melody
line), and then later gives it a bit of welly.
Tony Peluso may not have done anything as notable before or since, but surely
he could dine out on this one solo forever.
And (snobbily?) if it wasn’t for the fact it was for The
Carpenters, this solo would sit alongside the work of Jimmy Page, Eric Clapton,
and (the sainted?) Eddie Van Halen in the list of All-Time Great Widdly Bits.
I've got to hand it to you, RD, that was one fine collection of tunes. Particularly that live version of Dead Flowers. Excellent stuff. I wonder if anyone can beat that...?
It's Sam's 7th birthday today. Here's the card I got him this year. He's finally getting into Marvel properly after years of pretending to like what his dad likes... although I will remind him when he's older that one of the first words he spoke was "Spider-Man".
Unfortunately, I'll only see him in the morning as today is also the day of my first late Wednesday evening classes, so I'll be in college till 8.30. Truly this is the job that keeps on giving...
Here's one of Sam's current favourites... Viet Nam protest songs are really big with the 6/7 year old demographic.
There really was only one Adam who could illustrate the Top Ten Adam Songs that you have helped me compile over the last week. Jim in Dubai was surprised by how many Adam Ant songs he had in his collection... but there's no such thing as too many Adam Ant songs, surely? And I know this is after he lost his Ants, but I still don't think it gets better than this...
There were, of course, other Adams in contention, including Adam Faith, Adam Green, a couple of Beastie Boys and Adam's House Cat... though I'm afraid to say that surnames are not allowed (those darned rules!) so no room for Bryan or Ryan, Tony or Rick... and definitely no room for Adamski, sorry to John Medd. I'm afraid Killer still gives me nightmares, John, and you did no favours by suggesting it was a "banger" since that term should only be used for sausages and fireworks. At least you didn't say it "dropped" in 1990... that really would have got you a three post suspension.
However, the idea of this series is that I collate ten tunes which have Adam in the title or the lyrics... from your suggestions, and my own. Nobody actually suggested any lyrical Adams this time, though you could have had...
...which is a top tune, but (under the rules) would only fit into the Top Ten Tony Songs... which I've already done. Although maybe it's time for a second volume?
You know I love old musicals and in Call Me Madam one of Irving Berlin’s songs is Mrs Sally Adams. All about a wealthy widow turned socialite. It won’t be in your Top Ten and probably breaks a rule with the extra ‘s’ but enjoyed watching the clip from the film with a young Donald O’Connor and Ethel Merman in fine fettle (she reminded me of Rizzo from Grease).
A brand new one next, from my old local pal The Poet Laureate, Simon Armitage, and his new band LYR. I will feature their new album again soon, because it's a belter.
I appear to have a song called The Adam Faith Experience by Jesse Garron & the Desperadoes from the Big Gold Dreams boxset, says Charity Chic. And Brian had it too. Now I want it!
Jim in Dubai kicked us off with this one, which he explains thus:
A great song by Momus from his album where people paid money to him to have a song written about them to help him pay some legal bills I believe, this one obviously came from a Mr Adam Green.
I did wonder if the Adam Green in question was George's favourite Adam Green (from The Moldy Peaches)...
There will be plenty of people who tell you that Weezer haven't been any good since (insert early Weezer album here, probably Pinkerton). To those people, I ask them again to listen to this.
God took a rib from Adam
Ground it up in a centrifuge machine
Mixed it with cardamon and cloves
Microwaved it on the popcorn setting
While Adam was like, "Ooh ooh! That really hurts!”
Going off into the tundra
So pissed at God
And he started lighting minor forest fires, stealing osprey eggs
Adam & Eve crop up in lots of songs because they were the first lovers... and it didn't end too well, did it? Still, they did inspire Billy to write one of his very best love songs.
Walking in the park, kissing on the carpet
And your tights around your ankles
Late at night a lover thinks of these things
Adam and Eve are finding out all about love
Teresa and Steve are finding out all about love
1. Bruce Springsteen - Adam Raised A Cain
As was traditional on the Hot 100, The Swede was first in... and he hit the nail on the head with his first guess. No surprises, really. I'll try to be less predictable in future weeks...
I know George doesn't like Bruce, but maybe I can tempt him with this Biblical epic...?
(Probably not.)
Thank you for your participation. I thought it might take a couple of weeks to get this feature going, but most of you stepped up to the challenge immediately.
They won't all be as easy as Adam though. Take next week... we're sticking with the letter A, and a name that's close to all our hearts. The only snag? One song will dominate our thinking. It's the obvious Number One, but can we find another nine to back it up? That is your challenge. Remember, lyrical references are allowed... but no surnames.
NEXT WEEK: OUR TOP TEN ALISON
(OR ALLISON & ALYSON*! Alternate spellings are allowed.)
SONGS
(I'll even allow abbreviations such as Allie... though this won't always be the case.)
(*Although Alyson may consider this the only true spelling?)
Get your thinking caps on... and join me back here next Tuesday.
