Iggy Pop’s Lust for Life, though lyrically inappropriate for minors, is famous for its drum riff, but I’m always hooked by the ripping punchy bassline (surprise surprise.)
Turns out that bassist, Tony Sales, is the son of comedian Soupy Sales.
I love trivia like that.
You may, if you so desire, go listen to the ridiculous but wonderful cover by the Smithereens:
rivia question: the drummer on Steve Miller’s “My Dark Hour” is listed in the credits as ‘Paul Ramon’; what’s his real name?
Hover here for one hint
Some random thoughts regarding the tunes I listened to on my way to work today:
- “Hush” – Deep Purple – Jon Lord once said, “I think my organ playing has something to do with the sound of the band.” In stand-up comedy, we call this ‘humor by understatement.’ While many of the band members were extremely talented it is Lord’s performances on a Hammond B3 organ which typify this band’s sound for me.
- “Quinn the Eskimo” – Manfred Mann – No, not the wimpy studio version (and please, for your own sake, avoid Dylan’s original; a classic example of bad arranging.) Side two (did I say that? well, on vinyl, it was side two!) has three tracks, two of them live, which show what a powerful rock band this was. The closing track is a huge keyboard extravaganza. After the opening verses, the pace becomes frenetic as drums, guitar and keyboards all try to out-intense each other. Chris Slade should have stayed with the band. His drumming is almost machine-like in its precision, but there’s too much feeling to ever mistake it for anything electronic.
- “I Still Miss Someone” – Lester Flatt, Earl Scruggs, and the Foggy Mountain Boys – Lester Flatt was a great singer. No, his voice isn’t polished and refined, he doesn’t reach up to those impressive high notes; instead, he made simple tunes about human emotions sound genuine. When Lester was happy, you were happy; when he sang a sad song, you cried. While Earl’s banjo was the flashy partner, Lester’s voice is what I miss.
- Commercial music?
- “(Outside the Gates of) Cerdes” – Procol Harum – Robin Trower occasionally got ahold of Keith Reid’s lyrics before Gary Brooker got to them. While Brooker tended toward the beautifully orchestrated pieces, Trower is a bluesman. “Cerdes” opens with a bass line I just can’t resist, and includes some fine guitar work by Trower. As usual, Reid’s lyrics hover somewhere between confusing and bizzare.