Posts Tagged ‘Girlfriend’

Released on March 31st, 1978, Wings’ London Town album wasn’t well received by the rock press at the time. Rolling Stone’s Janet Maslin described it as “so lighthearted that the album’s feeling of familial strength and affection is virtually the only thing that binds it to earth” in her review, for example, and – if my memory’s correct – Dave Marsh slammed it in the (blue) Rolling Stone Record Guide a few years later.

Don’t believe the disses.

While not a five-star album from Paul McCartney and pals, the 14-song set features an enjoyable mix of soft rock, pop and light psychedelia. The keyboard-driven title track, which opens the album, is a good example, with its whimsical lyrics painting a colorful scene: “Walking down the sidewalk on a purple afternoon/I was accosted by a barker playing a simple tune upon his flute/Toot, toot, toot, toot/Silver rain was falling down upon the dirty ground of London town…” 

Musically, it eschews the new strains of rock bubbling up from the streets (aka punk and new wave), with the brief guitar break at 3:25 instead conjuring the old-school vibe of Abbey Road instead of, say, “Anarchy in the U.K.” It’s an airy delight. The second track, “Cafe on the Left Bank,” continues the timeless sound; in some respects, it echoes Paul’s work on Rubber Soul and Revolver.

Just as McCartney sidesteps punk and new wave, the disco beats then heating up the pop charts are nowhere to be heard on the album. Instead, we’re treated to “I’m Carrying,” one of McCartney’s most unheralded love songs: 

I should back up for a second here to explain the album’s background: It began life in early 1977 when Wings regrouped in the studio after their mega-successful 1975-76 world tour. Reportedly, the plan was to record a new album and return to the road – but Linda’s unexpected pregnancy (with son James) caused the McCartneys to change their mind about touring again anytime soon. Instead, in the spring, they headed to the Virgin Islands, where they rented a few yachts, one of which they turned into a recording studio, and enjoyed a working holiday. (In a sense, you could say it’s actual “yacht rock.”) As Paul explained to Melody Maker that same year, “There was a nice free feeling. We’d swim in the day and record at night.”

It’s understandable, then, that the laidback recording sessions led to a laidback sound; and, as if he needed it, the notion of being a dad again likely buoyed Paul’s natural optimism, which is on full display in the album’s lead single, “With a Little Luck.”

The single fades out a minute-and-a-half earlier than the album version, however, and the coda on the album version is quite cool. (As I wrote long ago, this song is what led 12-year-old me to become a McCartney fan. First I bought the single, then the album. And when I heard the longer version, it blew my little mind.) How anyone can hear it and not be swept away by its unbridled hope is beyond me.

“I’ve Had Enough,” which closes Side 1, is an old-school rocker that could well have been written at any point in the preceding 15 years. Written and recorded during the yacht sessions, it protests everything from backseat drivers to the taxman: “I earn the money and you take it away/When I don’t know where you’re from/I should be worried but they say/It’ll pay for a bomb…”

Another of my favorites is “Deliver Your Children,” a driving folk-flavored number and one of five tracks written by Paul McCartney and Denny Laine. In this instance, it was a song that Denny had been working on since the Venus & Mars sessions; Paul helped finish it.

“Girlfriend,” which McCartney wrote for Michael Jackson to record, is another highlight. (McCartney recorded it first, obviously, with MJ getting to it in 1979 on his Off the Wall album.)

Another track I enjoy, though some might not, is the closing “Morse Moose and the Grey Goose,” a sprawling, eccentric rocker in the mode of “Uncle Albert/Admiral Halsey”; it’s also a broad hint of what’s to come on McCartney II. 

The bulk of the songs feature the classic Wings Mach II lineup: Paul, Linda, Denny, Jimmy McCulloch and Joe English, although guitarist McCulloch and drummer English flew the coop midway through the sessions – McCulloch to the reformed Small Faces and the American-born English back to the States, as he’d grown homesick.

On the charts, the album didn’t do as well as expected (No. 2 in the U.S., though it did go platinum, and No. 4 in the U.K.), which set the stage for the following year’s Back to the Egg. But make no mistake: Despite a few stumbles (“Children Children” and “Famous Groupies”), it’s a solid set that’s sure to please all but the most hard-hearted. 

dodgecolt002Twenty-five years ago today as I write, on Wednesday Sept. 25, 1991, Diane and I were brand-new to married life, having gotten hitched the previous Friday in Philly’s Chestnut Hill neighborhood. It was, suffice it to say, a great day – up until we walked out of the French restaurant where we held the wedding: my brother and a friend had decked out my car, a Dodge Colt, in festive wedding gear, and tied empty cans to the back. That centuries-old tradition sounds charming, I suppose, but try driving with said cans clanging on Chestnut Hill’s cobblestone streets… as Bill the Cat might say, “Ack!” At the first opportunity, I cut ’em loose. Anyway, we waited until the following spring for our actual honeymoon, a wondrous California odyssey, and spent the weekend down the shore. We already lived together, so the adjustment was minimal – changing our W-4s was it, I think.

Here’s our living room from January 1991:

apartment-1991002

Yes, that’s a lot of CDs; and the number only increased, as they spawned often. By decade’s end, they took over that end of the living room.

smokey_ogc001Although I don’t remember the specifics of this particular Wednesday, I can still lay out a large chunk of what happened based on routine: I woke around 6:30, left at 7:35am, arrived at work 10-15 minutes later, and then sat at a desk for a spell. Those were the days of hour-long paid lunches (what a concept!), and I made use of the time by heading home most middays. Without morning traffic, it took 10 minutes each way. I brought in the mail, likely indulged the original old grey cat, Smokey, with a few treats, and worked on the Great American Novel, which I spent much of the ‘90s writing, re-writing and never completing.

That’s to say, in addition to a cat, we had a computer – a second-hand x286 IBM clone. It came with an eight-gig hard drive, 256MBs of memory and a modem, which meant we could, and did, connect to the sandboxed universe of Prodigy. My dad, God bless him, dumbed down the DOS operating system for us and installed a simple menu, so accessing a program was never more than one or two keystrokes away – as in, A, B, C, D or E. For me, at lunchtime, that meant firing up the word processor and tap-tap-tapping away.

The top movie of 1991 was The Silence of the Lambs, which Diane and I saw while down the shore for a week in the spring. (We read the book and Red Dragon, the novel that preceded it, in the same week. Yes, we were eyeing everyone with suspicion.) Other popular films included Beauty and the Beast, Terminator 2: Judgment Day, Point Break and Hook, none of which interested me then or now; and Thelma & Louise.

On the economic front, America was teetering: unemployment averaged 6.8 percent for the year and inflation, at 4.2 percent, was a source of concern as January dawned, though it (thankfully) fell over the next 12 months. Still, there was reason to rejoice: the USSR officially disbanded on December 26th and, with it, the Cold War came to an end – at least, it came to an end for a time. We’ve recently seen the rich man’s Hugo Chavez, Vladimir Putin, upping Russia’s nationalistic ante as a way to distract everyday Russians from their own economic woes; and those dupes who’d play cards with him, such as Donald Trump, apparently have no clue that he’s dealing from a stacked deck.

Back on point: In the music-history books, 1991 is heralded for the breakthrough of the paradigm-shifting Nirvana, whose influential Nevermind was released 25 years ago yesterday. I’d love to say that I was among the first to buy it and take the music to heart. I wasn’t. I was in a different mind-space, as my list below shows. That’s not to say I didn’t and don’t appreciate the immediate impact and lingering influence of Nevermind; if I was creating an objective list for the year, I’d rank it No. 1. I’m not, however, so I won’t.

Before I get to the list: My main music-related memory from 1991 isn’t of an album, but of two sterling shows that we saw in the span of a few weeks, both at the TLA in Philly: Rosanne Cash on her Interiors tour; and the Irish singer Mary Black on her Babes in the Woods tour. Rosie’s was, as Dan DeLuca phrases it in his review, “an ‘I can’t remember the last time I saw anything this good’ show’; and Mary Black’s was as magical. (I reference it in this Of Concerts Past post about her 1994 show at the Chestnut Cabaret.) Other shows we saw in 1991: Elvis Costello with the Replacements; Emmylou Harris with Chet Atkins; Kathy Mattea with the Nitty Gritty Dirt Band; Roger McGuinn; Bonnie Raitt with Chris Isaak; and K.T. Oslin with ex-Byrd Chris Hillman’s group, the Desert Rose Band. There were plenty of others.

For today’s Top 5: 1991.

1) Mary Black – Babes in the Wood. Selected track: “Still Believing.” I mentioned that memorable show of hers above because, looking back, I’m sure that live experience played a major part in my picking this as my favorite of the year. To this day, whenever I play the CD – or, now, stream it – I’m transported to the TLA, seated about halfway back, with Diane by my side.

2) Neil Young & Crazy Horse – Weld. Selected track: “Hey Hey, My My (Into the Black).” Now, this is my idea of grunge. Neil Young returned from the wilderness in 1989 with the stellar Freedom; followed it the next year with the raucous, Crazy Horse-infused Ragged Glory; and put a cap on his comeback with the electric tour captured on Weld, which could well be summed up in two words: brutal grace.

3) Matthew Sweet – Girlfriend. Selected track: “Divine Intervention.” One of my most-played albums of ’91, which is saying something as it was released in October of that year. This track, like the album as a whole, is delightfully trippy – and very Beatlesque.

4) John Mellencamp – Whenever We Wanted. Selected track: “Whenever We Wanted.” This, Mellencamp’s first release of the ‘90s, bypasses much of his late ‘80s Americana stylings in favor of the crunchy rock of Uh-Huh; and often substitutes sloganeering for the incisive short stories that accent Scarecrow, Lonesome Jubilee and Big Daddy. That said, a handful of songs – including this cut – stand with his greatest work.

5) Soundtrack – Falling From Grace. Selected track: Nanci Griffith’s “Cradle of the Interstate.” So John Mellencamp made a movie. I have no idea if it was good, bad or mediocre, as I’ve never seen it., but I can say without equivocation that the soundtrack – which preceded the film by a few months – was uniformly excellent, featuring tunes from Mellencamp, Dwight Yoakam, Larry Crane, Lisa Germano and Nanci Griffith.

And a few bonuses:

6) Nanci Griffith – Late Night Grande Hotel. Selected track: “It’s Just Another Morning Here.” A solid, if slightly overproduced, outing from the folkabilly singer-songwriter, who was one of our favorites. The songs played better live, as recall. I do wonder what’s become of her…

7) Lisa Germano – On the Way Down From Moon Palace. Selected track: “Riding My Bike.” Germano, of course, came to the fore as the fiddler in Mellencamp’s band – and is a phenomenal fiddler. This jazzy solo effort is likely not to everyone’s taste, but I enjoy it.

8) Blake Babies – Rosy Jack World. Selected track: “Temptation Eyes,” Juliana. John. Freda. What else need be be said?