...is a bunch of y'all folks, with no one bothering to speak up. Ol' OBG's got you covered, though, so on this second edition of My Back Pages I'll upload/re-post music to the threads that some of y'all have wondered in lately.
Folks, you might have a thousand reasons to not post a comment, find one to do so and ask for a repost. But if not, these back pages will be back from time to time to get some of this cool stuff from out of the attic...
My, how time flies. I say that regularly on this blog, and it's eternally true, but I realize this just as regularly as I say it, when I notice that something that I wanted to post got sidetracked and then - whoops - it's *checks notes* a year later. Last January I took a look at the largely iunderrated and little-known transitional years of Fleetwood Mac in between the Peter Green blues era and the Lindsey Buckingham-Stevie Nicks cocaine california rock platinum era. I then followed that up with a look at the Buckingham Nicks album issued during that period od transition and the original plan was then to follow that up with looks at what the two guitar slingers post-Green and pre-Liddy Buck were up to after leaving the Mac. But then I got caught up with working on some Warren Zevon, David Lynch died and pushed me to work extensively on a compilation of related material etc. etc. - and those two axemen got the axe, temporarily. A piece on forgotten hero of missle-era Mac Danny Kirwan is in the works, but as it's been a little while since we got some kick-ass rock'n'roll on this site, let's start out look at the other Fleetwood Mac guitar guys with Bob Welch.
Now that last sentence sounds like an oxymoron. Bob Welch, with his penchant for jazzy, midtempo and sometimes close to MOR tunes (The Mac's "Sentimental Lady" from their hidden masterpiece Bare Trees) as a guy for heavy rock? Hell, I even called the buy 'Boring Bob' - perhaps unfairly - on these very pages because his Mac work didn't indicate that Welch had a penchant for harder-rocking rhythms. And yet, that was exactly what was on his mind when he quit the Mac. Welch complained afterwards that the band had curdled what he could bring to it, that they only wanted a certain type of guitar playing and songwriting from him and that he couldn't express himself within the confines of the band.
It was still somewhat surprising to see him veer completely into the other side of the spectrum when he founded hard rock combo Paris, which towards their end included the services of brothers Tony and Hunt Sales, later infamously employed by another hard rock combo with some random dude as their lead singer whose name now escapes me. He had started the band with sound engineer Jimmy Robinson over their common love for Led Zeppelin, then backed away from the real heavy hard rock stuff when, after the release of the self-titled debut his ex-colleagues frpom the Mac asked him what he was doing with "that Led Zeppelion crap". You know, not to say these guys are right, but I personally have very little use for the bone-headed hard rock of Paris' first album, while the follow up Big Towne, 2061 has a move towards a more funk- and groove-inspired sound and has a trio of songs, "New Orleans", "Outlaw Game" and the title track that I like well enough (and that are thus featured on the album of the day). To have at least something from the first Paris album I edited down "Narrow Gate", which is more or less the only thing I like from their debut, into a special (and exclusive to this comp, natch!) single edit.
So, the mission for today's One Buck Record was simple. Grab the old Bob Welch comp I did years ago, verify the sequencing and flow, maybe take off three or four tracks of this relatively long 23 track, 78 minute comp - et voilà. Easy peasy. Except of course, I had to make life more complicated for myself. That Welch comp had only a smattering of his 80s new wave work for RCA, which also happened to be some of my favorite numbers on it. So, out of , ahem, amateur's professionalism I decided to recheck his discography, then found said 80s new wave work for RCA and of course loved a ton of it. As long-time One Buck Heads - thanks to my comps on, say, Randy VanWarmer or Martin McBriley know, the One Buck Guy loves himself some 70s pop/rock star revving up the synths and Linn drums and jumping on the new wave bandwagon. So all of a sudden, the idea of condensing the original 23 track comp into an 18 track disc went completely into the other direction, with the comp ballooning and essentially doubling in size: now we're talking about a double disc 40 track anthology covering Welsh's heyday from 1976 to 1983.
Correct me if I'm wrong, but Bob Welch seems to be strangely forgotten, considering that he had several top 20 hits and platinum albums at around the same time his old band was ruling the charts with Rumours. Sure, everyone remembers his sortrock remake of his ol' Fleetwod Mac standard "Sentimental Lady" - which included all Mac members, including Lindsey & Stevie on backing vocals - that hit no. 8 in 1977. As a matter of fact, Welch stayed friendly and hung out with the members of the Mac until the end of the decade and retained Mick Fleetwood as his manager until the early 80's. But, still, quickly name me the other four Top 40 hits he had. Well, you might remember "Ebony Eyes" a soft-rock disco hybrid that is pretty much exactly like what you'd imagine, but is still better than "Precious Love" which really goes too far into the disco route for me. I had to include these, obviously, but buried them pretty deep down the second disc.
But Bob Welch had a ton of songs that were better, even if they didn't do better. As said above, I am especially fond of his RCa new wave period including gems like the newly minted title song (despite being a Bryan Adams song!), "Two To Do", "I'll Dance Alone", "Secrets"and "It's What Ya Don't Say". But the polished, shiny AOR rock, sometimes bordering on soft rock (or yacht rock as the younguns would say) also throws up a number of highlights, including "3 Hearts", "Hideaway" and "Future Games". I threw off most of the soft rock numbers, and Welch could work up a pretty mean groove on his midtempo and uptempo numbers, including the Paris selections. I admit it, I did him wrong - Boring Bob has to be renamed. So, any suggestions? Boppin' Bob? Badass Bob? (Nah, too much).
Anyhoo, while Welch was flying high in the late 70s, his career and life took a turn for the worse after his RCA deal ended. He hung out with a bunch of hair metal dudes (including future Guns'n'Roses member Izzy Stradlin jam and occasionally sleep in his soundproofed garage. As to why he hung out with that crew? Why, their shared love of heroin of course, which finally sent him into a two week coma followed by a drug bust right after, which combined at least and long last led him to clean up his act. He moved to Arizona with his new wife and then later Tennessee. He recorded one more album in 1999, and a couple of records mostly containing remakes of old Fleetwood Mac songs in the mid-2000's. Alas, as with brother in arms Danny Kirwan, a happy end wasn't in the cards. After some health issues and unsuccesful spine surgery that left him in fear of becoming invalid, he took his own life in 2012. Bummer, Bob.
Time for us, though, to get back to the good times of Bob Welch, which Remember has plenty of. So, groove to Boppin' Bob's best material. "Remember the days that went on forever..."
I hadn't spent a lot of time thinking about A.I. this winter, even though the encroaching of A.I. slop into all aspects of media life - hey, they even got to the cute animal videos! - is hard to ignore. If you didn't specifically search for A.I. slop for some reason, you weren't specifically exposed to it, if -, like me, your socialmedia presnce is *checks notes* zero. And yet the march of the sneaky robots continues ever on, whether I tookn specific note or not. There is a fabulous article from December called "The Sloppification Of Everything" by the ever-reliable Brian Phillips over at The Ringer that you should really check out. Phillips points out how fact and fiction are now less separatable than ever, how in the era of the deep fake in image, voice and moving pictures you can not just trust your own eyes or ears, as has been the inofficial measure for incredible things for centuries.
That ear part became eerily prescient just a short bit later, when I didn't find A.I. sloppification, but A.I. sloppification found me. As ever, in disguise of course. For the homebrewed All Pearls, No Swine and Bluegrass Chartbusters series I am from time to time scouting Youtube for new hidden gems, or overseen track, and of course this is where the ghosts of A.I. past and present found me. Having racked up a good number of views on the 'Tube, on the sidebar its algorhythm of course presents me from time to time songs it might think I like. Sometimes they're right, often they're wrong like any algorhythm, but before - at least as far as I can tell which is, given the subject, not very - Youtube's algorhythm hadn't proposed an A.I.-created song to me, only to propose me two in the space of a couple of days.
Enter Jared Hutcherson
Among the songs proposed, was a track called "Sunrise Sessions" by artist Jared Hutcherson. As usual I clicked on it. Oh, modern country music with a girl singer. Fine. Nothing worth getting excited about, but listenable. No identifying who the girl singer is though with or under the track. So I decide to see and swing by Discogs. No Jared Hutcherson listed there, which makes an awful lot of sense, because Jared Hutchinson doesn't exist. You can't find a picture of him if you tried. For someone who is a totally anonymous phantom, 'he' sure is busy, though, his Youtube discography counting no less than 30 studio albums, filled with between 17 and 21 songs each. That is a lot of music to create for a hard-working country musician, but an easy day at work for an Artificial Intelligence. As Phillips notes in one of his rules to identify, slop exists at scale. Jared Hutcherson slop definitely exists at scale.
First, there's the music itself. Ultra clean digital sound sheen and absence of any personality in vocals
and performance. I clicked on another Jared Hutcherson track, this time a male, young-ish voice, vaguely recalling the country-pop singers of yesteryear (and today? I haven't kept up with what comes out of Nashville). Okay, I thought, so I finally found the real Jared Hutcherson. Then I clicked on another Hutcherson track, and surprise, the man has just changed his voice. The young-ish pop voice is now a middle-aged grizzled Americana voice à la Colter Wall - that's weird. But only, of course, if you still considered that 'Jared Hutcherson' is some sort of real person, or even persona.
Here's 'young poppy' Jared Hutcherson
And here, on the very next track, is 'middle-aged grizzled Americana vet' Jared Hutcherson
Whatever else 'Jared Hutcherson' is, he for sure is somewhat of a ventriloquist, sounding like at least two different people with completely different voices, and at least once - maybe as a weird nod to Prince's Camilla phase - also a girl, which was what got my attention in the first place. Maybe someone messed up labeling on sound files, and "Sunrise Sessions" was supposed to go with the totally real female country-pop singer Tyler Slow. His name is clearly chosen on purpose, generic enough to be plausible and pass muster and possibly also for easily confused listeners who like 'that Hutcherson guy' to confuse him with Jonathan Hutcherson, a real and existing country music singer.
Once the detective instincts of ol' OBG awakened, I couldn't help but be drawn back to the Jared Hutcherson mystery. Elementary, dear readers. Next clue: The album covers - all totally generic images, mostly computer-created, and not a single identifying or personal feature on them. One would think a guy with 30 albums under his belt would at some point show his mug on one of these, but if you don't have a mug to show...And of course it got worse: Whoever is behind the Jared Hutcherson project is also quite lazy. Two of the album covers for the different studio albums are the same generic sand dunes image, just colorgraded differently. Come on, man....uh, I mean bot...
Jared Hutcherson and his classic album Sway...
and Jared Hutcherson with, uh, his other classic album Sands Of Time...
(I mean, aren't they all classics..?!)
If the whole Jared Jutcherson saga teaches us anything, it's how utterly generic and hollow most modern country-pop is, if a computer can so easily mash up a thousand clichées and regurgitate them without anything seeming amiss, at least on a cursory listen. 'Jared Hutcherson' could easily make it into a radio or internet radio playlist without rasising any red flags, and that's maybe the scariest thought of it all.
Having just discussed music streamers with my old college buddies (who are both streaming their music, and happily so), I sent them an article on how Spotify is freezing out real artists to pay their (miserable) royalties in favor of specially commissioned tracks that sound a bit like these, but are royalty-free, being paid with a lump sum by Spotify. That was, of course, a couple of years ago. It wasn't super-ethical, but at least it was still music made by real musicians, however badly paid, uninpired and uninspiring the results. A.I. has of course completely dusted that text and its concerns, because now, things are ven easier for Deezer and Spotify to lull you into total complacency with music that you probably like because the algorhythm tells them so: They can just pay a couple of guys to cook up hundreds of hours of music in mere days. What's real or not, on You Tube or in your Spotify or Deezer play list is becoming more and more difficult to discern. Then again, sign of the times. As Brian Phillips says, "real things seem a little bit fake. Fake things seem a little bit real."
Jared Hutcherson (artist illustration)
Here's the thing: I'm not a sworn enemy of A.I. I mean, professionally I am, because as a language teacher ChatGPt and its brethren are my worst enemies, because students only use it to cheat...and doing a bad job of it at that. But I can roll with A.I., notably for my weakest area in creating stuff for One Buck Records - the cover art. I have occasionally used A.I. images for that, though it really is a crapshoot and you rarely get what you were hoping for. But still, there's a place for it. As a matter of fact, the lead in picture above the article with the appropriately menacing robot (which I didn't choose as such, like I said, a crapshoot) is, yes, A.I.-produced. But I don't use A.I. to fool anyone, or to present it as something it isn't.
In this spirit you'll also find the OBG record of the day, which this time is an EP's worth of AI songs reimagining pop or rap songs as classic soul or blues records, an automated take on the 'unusual covers' subgenre' that occasionally amuses me, and is openly and proudly AI. As for the slopification of everything, keep your eyes and ears open, folks, even if that ain't what it once was anymore...
Disclaimer: All pictures in this article have been created by Artificial Intelligence. All words, however, are still by hot-blooded human OBG.
As all of y'all can imagine, because some of y'all know that the One Buck Guy rolls like that, we are not quite done with Pink Floyd's classic album Wish You Were Here, freshly re-imagined around these parts, yet. What we have here is a little bonus, not from the Floyd, but from the archives of Mojo Magazine, who brought out one of their well-compiled tribute discs to go along with their Pink Floyd cover story (I still remember its slightly sensationalist byline - "'We were a cruel bunch...' sez the Floydsters in the subtitle). It's one of their best, because it actually covers two Pink Floyd discs, the first half Return To The Dark Side Of The Moon covering their 1973 commercial highpoint and Wish You Were Here Again, well, you know.
Surprisingly, I like that second half better than the first one, despite the bands on return being closer to my beloved Americana and indie rock, while Again taps into electronic music, in which I am highly selective. But the run through the five Wish tracks by electronic artist both old (pioneer John Foxx, here with The Maths) and new (Beak>, Malachai, Lia Ices). But, when I say I'm picky, I mean it, so I picked only the choice cuts and moments. Some of the electronic tracks were running a big long and getting repetitive, so I cut these down, and finally ended up turning the entire tribute album into a single mix of around 17 minutes, credited to The Mojo Reboot All-Stars. So, indeed a quick one while I'm away.
If you are absolutely allergic to electronic and beats-based music this is obviously not for you, but if you can groove along to synths and club beats, then by all means check this out. Thesections are the original five compositions in original order (Shine Pt. 1, Welcome, Cigar, Wish, Shine Pt.2), the order of featured artists are: Malachai, Beak>, John Foxx And The Maths, Lia Ices and The Orb), though to start the mix I smuggled a bit of 'Syd's theme' in right at the very beginning.
This is really a quick chaser for the feast that (hopefullly) was the main course of this weekend's alt album. Though a bit out of the wheelhouse from what I usually post here, it might surprise you by sneaking into your musical heart, as it sneakily did with mine. Shine On, You Crazy Tribute Folks...
Ooooh, this might be at least a little controversial. I don't think people minded me too much taking the hatchet to Kansas and their music, because, well, it's Kansas, but what if we touch the untouchables like Pink Floyd? We'll find out together. There were a number of reasons why I wanted to rework this album, the main one being that there are parts of "Shine On You Crazy Diamond" which bore me to tears and that I don't want to sit through to get to the parts I like. But other ideas came up: What if, instead of the now mightily thinned out "Shine" the album really concentrates and is built around its title song?
Now, obviously, this alternate take on Wish You Were Here isn't an attempt to improve the album or 'fix it' or whatever. I may be delusional, but I am not that delusional. No, this is a private project that just may be of interest to a couple of you. It is, if nothing else, a new way to listen to this old warhorse, because - for better or worse- you've never listened to Wish You Were Here like this. This is actually my second take on this album. The first one is, as I've seen when working on this new version, more than five years old, and it shows. It was only my second big mixing project, after a Blade Runner-themed one, but I was just starting out wih Audacity, and it showed. Even more so, I was just starting out with Alternate Albums, and that also showed. Figuring out what works and what not comes with time and experience, and a better trained set of ears, and now - half a decade and a not insignificant number of alt albums later - I am doing a much better job than I would have been able to in 2020.
I was also greatly helped out by the access to new material. The 50th Anniversary Edition of the album had the band issue a couple of never-before released (or bootlegged) outtakes, including a set of demos for "Welcome To The Machine" and the pedal steel instrumental version of "Wish You Were Here". I can't tell you how much I love the latter - the high lonesome whine and sway of Gimour's pedal steel playing captures the melancholy of the track absolutely perfectly. Unnecessary to say, it is all over this version of the album - literally. It opens and closes proceedings as the thematic and melodic bookends, and makes another surprise appearance elsewhere. "Wish You Were Here" the song is the original version with the clear intro and Stéphane Grappelli's violin all over the second half of the song whereas it was mixed into practical inaudability on the final version, and it somewhat improbably continues the sound aesthetic that that pedal steel version of "Wish" started - this is at least partly Wish You Were Here as imagined by a country (-ish) band, fitting for what Gilmour called "a simple country song".
Every track on here is different from the original line-up. "Have A Cigar" is the duet between Roger and Roy Harper and given the repetitiveness of its coda, cut down quite a bit. "Welcome To The Machine" exits in two versions, both very different from the album. The first version is the band demo, the second ("Welcome Back To The Machine") a part of Roger's original demo. And then, there's of course the big one: "Shine On You Crazy Diamond". Nowhere is my growth in editing more obvious than here. The differences aren't necessarily just in the quality of the edits and transitions, though those got better and smoother, but in the way I listened to the original while thinking of editing it. When I did that first take on"Shine On You Crazy Diamond", I wasn't really thinking about the dynamics of a piece of music, I was pretty single-mindedly occupied with stitching together the parts of those two long suites that I liked.
Though I ended up with a piece that almost had the same length, my first unsuccessful stab at "Shine On" was quite different from the one on this album. Back then, I cut a personal highlight reel, this time I thought 'how could this work as a song, rather than a sequence of pieces?'. This led me to make some harsh, and no doubt controversial cuts: Using the first parts essentially as table-setting, a long mood-establishing intro before the song proper kicks in means getting rid of both of David Gilmour's guitar solos, for many a Floyd fan the highlight(s) of the track. On the first version I also kept parts of the last sections that shorn of their long movement-like structure felt stranded on an island, further leading to the feeling that that version was a not particularly well thought-out cut up. For the new version I took Roger Corman's old 'cut to credits when the monster is dead' logic, meaning, as soon as the song part is over, cue the fade.
So, where does all this leave us? With a very different, and quite breezier version of the album, as this edit of Wish You Were Here is a mere 33 minutes long. I trimmed some of the fat while adding more than a touch of a different, maybe a little earthier version of Pink Floyd. I'd be interested to find out whether all of this works for you, or whether you think it's terrible that I'd massacred a sacred cow. As is, I am finally happy with a project that was in the furthest corners of the back of my mind for five years. I now have an alt version of Wish You Were Here that I'm proud of and happy with. And I hope, one or two of you will soon have that, too. So, friends and neighbors, shall we...dive in?
Time for another one of these, wouldn't you say? Haven't had some sweet 70s music around in a bit (not counting the CCR/Eagles combo), so this volume of All Pearls, No Swine will do just fine, thank you. Listening back to this volume, I must've been in an exceptionally mellow mood, as this colume is almost entirely easygoing folk-pop, country rock and singer-songwriter stuff. All lovely, of course, but definitely on the slower side of things, where beats are rarely above mid-tempo and voices are in harmony, but not in the red. The rhythm picks up lightly with The Records and the jingle-jangle power pop of "Starry Eyes" at around the halftime mark and due to some heavy guitar shredding in Henry Shifter's "Natural Love" from his only album, 1971's Out Of Nowhere.
We'll also meet the 'less famous than their family members' brigade: It's easy to forget, considering the mega-success of James Taylor that he comes from a brotherhood of musicians, with both elder brother Alex and younger brother Livingston recording somewhat steadily (sister Kate was also a musician, as was for the blink of an eye, youngest brother Hugh). Big brother Alex had the least career of the three, probably because he wasn't a writer, but his take on brother James' "Highway Song", given to him before James brought out his own version, is wonderful and has all the hallmarks of a classic rock radio staple (mellow division), alas it was not to be.
Dave Loggins, second cousin to Kenny, rivaled his success with "Please Come To Boston" for a moment, but saw his career stall out until a hit duet with Anne Murray a decade later. "My Father's Fiddle" comes from the same album, 1974's Apprentice (In A Musical Workshop).As usual, though, most spots in the line-up are reserved for folks you probably haven't heard of: Tom Eslick, Bureman & O'Rourke, Music Box, James And The Good Brothers, Brock & Friends, Garret Lund and Freeland.
You may of course remember The Mamas And The Papas' Denny Doherty, here with a take on early folk rock-styled Hall & Oates material in "Good Night And Good Morning". And maybe you remember Susan Taylor from her time with The Pozo Seco Singers, "When The Baby In My Lady Gets The Blues" is from her only solo album under her own name, 1972's Finally Getting Home. She changed her name to Taylor Pie for a career in songwriting afterwards and will be back on these pages.
If you've heard a volume of All Pearls, No Swine or three, you know that I like to end with a longer run-out groove, usually of the psychedelic variety. The lengthy ending track is here, but in a different style this time, as we let Baby Huey and his almost ten minute take on Sam Cooke's "A Change Is Gonna Come" bring us home.
So, stay mellow with some exquisitely lovely music from the 1970s, everybody...
When I went to the Celebrating David Bowie revue on its stop through Paris in 2018 - a gift from the wife - I didn't know what to expect, other than Mick Garson being the musical director of a band including some former collaborators of Bowie, plus possible guest stars. The show, as it turned out, was pretty good, notably led by four main vocalists: Fishbone's Angelo Moore on the more theatrical and bombastic numbers, Sting's son Joe Sumner on the classic rock-type songs, Adrien Belwe on the art-rock songs and a lanky gentleman in the middle who took over the torch songs and ballads. When you squinted a bit, hat gentleman looked a bit like a younger Brian Ferry, ery snazzy in a suit. He also had a connection to Bowie, having supported him on a tour in Australia with his band Something For Kate. That gentleman, whom I never heard of before, was Paul Dempsey.
On second thought, that whole 'looks a little like Brian Ferry' probably mostly comes down to the suave swaying and the snazzy suit, though we can clearly establish that Paul Dempsey is somewhat of a handsome fella. Which is quite different from being a beautiful man. A fella can look at another fella and somewhat neutrally declare that that other fella with attractive features is a handsome fella, while declaring him a beautiful man would imply an intimacy or time spent on studying that other fella that would suggest something deeper than a simple observation. Did I mention that these last days I am in 'But I Digress..'-mode?
Anyway, so this handsome Aussie fella named Paul Dempsey is a guy who does most things - aside from being a handsome fella - well: expressive, throaty singing that often doesn't need more than an acoustic guitar, can write intelligent, well-made pop songs - what's not to like? So you coould argue that there's a disproportionality between the man's skill set and his level of stardom. As in: he clearly isn't a star, and with well-made, intelligent bur otherwise classic pop and mild rock, he will not become one now and it's obviou why he didn't become one in the last fifteen years or so.
The music is excellent, but if you heard it on the radio, it's not the kind of mudic that'd make you call the station (and by that I mean post on their Insta, or what not) to find out what that cool song was that you'd like to purchase (or rather stream, or steal off the internet, or what not). My point being, that Paul Dempsey is too little known and deserves to be better known, and I will do my tiny part in that.
If I don't have anything particularly spectacular to say about the music of Dempsey, it's because it isn't spectacular music, just really well-done intelligent pop/rock music, mostly concise ("The True Sea" has been edited for this collection, with some minor works on fadeouts and such to a couple of other track) and with just enough little aural nooks and crannies to keep things interesting. He's as much at home with a beautiful, understated ballad as an uptempo, guitar-driven number, and has a gift for hooks that in a better world would have brought him into, well maybe not stadiums, but bigger concert halls across the world. As is, Dempsey is fairly well-known down under but draws blank looks pretty much everywhere else.
Dempsey is not only a premier craftsman of beautiful, intelligent pop, however, but also an excellent interpreter of other people's songs, which you might have realized if you have picked up We've Got You Covered - David Bowie (Volume 3) this week,hat featured his "Ashes To Ashes"-cover. So besides his excellent originals this compilation also includes four equally excellent covers: A harrowing acoustic version of "Nothing Compares 2 U", an acoustic take on Queen's "I Want To Break Free", fittingly a cover of another intelligent pop songsmith from Oceania with Neil Finn's "Addicted" and a cover of MGMT's "Time To Pretend".
Be Somebody - The Music Of Paul Dempsey will hopefully make more people discover this excellent songsmith - and if you already know Dempsey will serve as a handy little primer of his solo work so far. EIther way, this is beautiful, well-made music that deserves a place in many more homes and hearts of music lovers...
