Edgar Winter's White Trash: Keep Playin' That Rock And Roll

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Before the Edgar Winter Group, there was Edgar Winter’s White Trash. While many won’t remember the two albums from this group, they are foundational recordings of the early 1970s. The first of the two, “Edgar Winter’s White Trash” was the follow-up of Edgar Winter’s first LP: “Entrance.”

This 1971 album produced the single “Keep Playin' that Rock and Roll” which charted at #70. The album only made it to #111 on Billboard’s Top 200 Album chart. “Keep Playin' that Rock and Roll” was an autobiographical look at Edgar’s entry in the music business and mentions his brother Johnny in the lyrics.

Both album and single featured the guitar work of Johnny Winter and Rick Derringer. Derringer also produced the sessions. In 1970, Derringer and the Winter brothers had previously worked together in Johnny Winter And. Derringer would later join the Edgar Winter Group following the departure of Ronnie Montrose.

Badfinger: Money

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One of my all time favorite albums is Badfinger’s 1972 release of “Straight Up.” This album took over a year to make and many of the original recordings were shelved under the direction of producer George Harrison. When Harrison exited the project, Apple Records secured Todd Rundgren to complete the album. In his role as producer, he remixed the George Harrison’s cuts, but was not given coproduction credits on these songs.

The album produced two hit singles, “Day After Day,” which charted at #4 and “Baby Blue” that peaked at #14. The flip of “Day After Day” was Tom Evans’ “Money.” The production on this track is superb with the double tracked electric 12-string guitars – one in the left channel and the other in the right.

Rundgren also split the lead and harmony vocals to each channel, while the backup vocals were in the center. A volume pedal was used on the guitar at the end to cut the attack.

While “Money” was the US “B” side, “Sweet Tuesday Morning,” a Joey Molland cut appeared as the flip side in the UK. Take a listen.

AC/DC: Back In Black

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AC/DC’s “Black in Black” has been used in so many commercials that I should have used it as a TV Thursday tune many posts ago, but alas, it wasn’t until I heard it recently being used in a Wal-Mart layaway commercial that I considered it. The characteristic opening provided by brothers Angus and Malcolm Young may be one of the most recognizable guitar riffs of the present time.

I saw AC/DC in concert in 1978 when they opened for Cheap Trick in Huntington, WV. I wasn’t that familiar with the band at the time, but Bon Scott and Angus Young put on a mean show. A several points in the concert Young, dressed in his school boy outfit, even went out into the crowd with his characteristic Gibson SG guitar. When lead singer Scott died from misadventure in 1980, it was a loss for the music world.

However, their loss inspired the band to write a couple of tribute songs – one of which was “Back in Black.” The music was composed by the Youngs, and Scott’s replacement, Brian Johnson, was tasked to author the lyrics – on the condition that they could not be morbid. Depicting Scott as a cat with nine lives fulfilled the obligation.

While the single only peaked in the US at #37 in 1980, its popularity eclipsed its chart performance. Being that it is heavier than most single releases, the Top 40 radio stations were probably playing it during late afternoon and evening hours; however, AOR stations played “Back in Black” around the clock. I can remember playing it in morning drive during my short stint as an AOR jock in 1983.

Another reason for its popularity doing better than its chart position is that AC/DC fans were not buying the single, but rather the entire album of the same name. The LP “Back in Black” is either the second or third bestselling album of all time in the world – Michael Jackson’s “Thriller” is number one and there is debate whether “Back in Black” or Pink Floyd’s “Dark Side of the Moon” landed in the second slot.

With 22 million copies sold in the US, it is the sixth bestselling LP in America and is ranked behind “Thriller,” the Eagles “Their Greatest Hits (1971-1975),” “Led Zeppelin IV,” Pink Floyd’s “The Wall,” and Billy Joel’s “Greatest Hits Volume I & Volume II.” Two of those albums, “The Wall” and Joel’s “Greatest Hits,” were double albums.

The song “Back in Black” is one of the more often used ringtones with over two million downloads purchased. I hear often in public. VH1 ranked “Back in Black” as the second greatest hard rock song only to be bested by Guns N’ Roses’ “Welcome to the Jungle.”

In the mid 80s, I had the opportunity to play this tune with The Second Story Band. Being that I was the keyboardist and there were no keyboards present on this cut, I played claves.  I remember playing them so hard one night that I shattered one of the claves into three pieces.  All for the price of rock 'n roll. 

Paul Hardcastle: 19

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While synthesist Paul Hardcastle had several hits in the UK, his US one-hit wonder was the anti-war song “19” that charted on Billboard’s Hot 100 at #15 in 1985. The title was taken from the first line of the narration that the “in World War II the average age of a combat soldier was 26 – in Vietnam, he was 19.”

Dealing with the topic of Vietnam War veterans who returned with post traumatic stress disorder, it was somewhat controversial in the US, and the song was slow to chart. I was one of the programmers at the time that waited to add the record due to the subject matter. It was only after MTV made the single a hit that I reluctantly added the record and it began its slow ascent up the radio charts.

The artist and the author in Atlanta - 1985

That was not the case in the clubs as it was a number one dance record in the US, as well as being a number one hit in the UK, Austria, Germany, Ireland, Italy, The Netherlands, New Zealand, Norway, Sweden, and Switzerland. In Canada, it peaked at #2. In 1985, the pain of the Vietnam War still lingered in the US and it was not as popular as elsewhere in the world. In non-English speaking countries, the original narration was re-recorded in the national language, which made an easier path for success elsewhere.

The narration came from a 1984 ABC documentary, “Vietnam Requiem,” that dealt with the post traumatic stress disorder with which many Vietnam vets were still coping in the 1980s. ABC sued Hardcastle for his use of the narration, but was unsuccessful in the litigation. I would have thought that ABC could have won this case as others with lesser amount of usage set the precedence. The narrator was Peter Thomas who at 88 still narrates the TV shows “Nova,” “Forensic Files,” and “Medical Detectives.” His voice has also been used for numerous TV commercials spanning several decades.

Following the success of “19,” his former US label, Profile Records, re-released the instrumental single “Rainforest,” which charted the second time at #57. It failed to chart in the US when it was initially released in 1984. You occasionally hear “Rainforest” on the Weather Channel.

Pat Metheny Group: Last Train Home

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One of my favorite guitarists is Pat Metheny and I became aware of him back when I immersed myself in jazz music during the 1970s. I was particular fond of the albums that were released on Manfred Eicher’s German based ECM Records label.

In fact, I purchased albums in the mid ‘70s simply because of the strength of the label - having never heard the artist and Pat Metheny's recordings were of that number. Outside of a few avant-garde records from the early seventies that I didn’t like, the later recordings were masterpieces and I frequently featured my personal ECM catalog on my Wednesday night jazz show on WKCC.

Pat Metheny was one of those acts and time came for the Pat Metheny Group to move to a label with greater marketing and distribution. In 1987, Metheny moved to Geffen Records which had great success since David Geffen founded the label in 1980. Geffen had also founded Asylum Records in 1970, which was sold to Warner Communications in 1972.

“Still Life (Talking)” was the Pat Metheny Group’s first album with Geffen and it features the song “Last Train Home.” I could have used this song for TV Thursday feature as the song is frequently heard on the Weather Channel and was used by the Lakeland, Florida based Publix supermarket chain as background music for a Christmas commercial. The commercial ran from 1987 to 1996.

The brush work on the snare by drummer Paul Wertico and driving acoustic bass of Steve Rodby gives the illusion that you are actually riding the rails. Lyle Mays’ keyboards provide the necessary piano fills, strings and occasional train sound effects.

Although the instrument is not credited, Pat Metheny used a Coral electric sitar. He did make a modification to the instrument as it does not have the original Danelectro pickups – it appears that he is using Stratocaster pickups as replacements. I am not sure what he is processing the instrument through, but it gives it a nice sound.

During the bridge, Mark Ledford, David Blamires, and Armando Marçal provide vocals. Marçal is also the percussionist for the band. It’s a great tune that always brings a smile to my face. It exudes happiness.

Mumford & Sons: The Cave

In nine days, “Reading between the Grooves” could be ending its run; however, a few have asked me to continue this blog. I have agreed that, on the condition that a certain number (which shall remain unidentified) of positive responses to the survey I’ve posted be met, then (and only then) will I continue this work. You can register your feelings at http://tinyurl.com/8juv863.

Since my FM radio is on the blink (broken for non-Americans), I decided to stop by our local used record and CD store last week to get some music for my trip to Pennsylvania last week. While going through racks, I found the Mumford & Sons 2009 CD “Sigh no More.” The cover intrigued me and the name was vaguely familiar. There was an unusual banjo being held by one of the band members – so I bought the CD.

As the first track emanated from the speakers, I was not that impressed. My initial reaction was that the instrumentation was great, but the vocals seemed to be over produced with a Phil Spector “Wall of Sound” treatment. The dichotomy between sparse instrumentation and vocals akin to the Mormon Tabernacle Choir was not terribly exciting to me. Marcus Mumford’s unusual voice did not bother me – it was these great swells of vocals that initially turned me off.

When the fourth cut emerged from the speakers, I readily remembered “Roll Away Your Stone” and cut number five, “White Blank Page.” I played “Roll Away Your Stone” several times on Wednesday night and when I got a chance, I checked and I had already featured this song in 2011. No wonder it sounded so familiar. Ah yes, memory is a wonderful thing - when you have it.

By Saturday, I was listening again to the CD and the second listen caught my ear and I immediately warmed up to the other tracks and now I had an admiration and understanding of the vocal swells – it finally made sense to me musically and from a production standpoint. Interestingly, I began to recognize some of the other tracks that I heard them before as well.

If I hear a song I like once, I generally recognize it later. This came in handy when I was programming radio stations. If I couldn’t hear it, I generally didn’t play it. “Sigh No More” is beginning to be one of my favorite albums and “Roll Away Your Stone” is still my favorite track on the CD. I really like this CD and I know that my wife would really hate it – but she hates most of the stuff I listen to anyway.

The CD has done very well in the US selling over two million copies and being certified as platinum. “Roll Away Your Stone” was the fourth single and was the worst performing of the four charting at 141 in Billboard. The third single, “The Cave,” did the best by charting at #27 and was the only Top 40 hit for the band.

One of the things about this band I like is Mumford’s voice – it’s odd and many people might not like it. Like Dylan, Neil Young, Rod Stewart, and others – it is not pristine – it’s unique and probably an acquired taste. I’m listening to this CD in my headphones now and it is even better without any other distraction. The other thing about this band is the lyrics are dark and realistic – just like folk music should be. Last year, I called the style “folk music with attitude.”

In addition to Mumford, who also plays guitar, the band consists of Winston Marshall on banjo, Ben Lovett on keyboards, and Ted Dwane on bass. All sing and three of the band (Mumford, Lovett, and Dwane) all play drums. If you purchase this CD, give it at least three listens to sink in and you’ll love it like I do.

Traffic: Holy Ground

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In 1994, Traffic recorded “Far from Home” – their first studio album in twenty years. The band dwindled from its seven member ensemble in the early seventies to just two individuals: Steve Winwood and Jim Capaldi. Although “Far from Home” charted at 33 in the US, it was the band’s third worst charting album of their career in America.

The two worst charting albums were their first and final LPs: “Mr. Fantasy” peaked at 88 and the 2005 CD “Last Great Traffic Jam,” recorded during their 1994 tour, failed to chart on Billboard’s Top 200 album chart. So by comparison, #33 is a pretty good showing for the band.

Our Spiritual Sunday selection is “Holy Ground” from “Far from Home.” The song deals with our ill treatment of the environment, ourselves, and the children of the world. While not overtly spiritual in nature, this song co-written by Winwood, Capaldi, and Davy Spillane uses religious imagery to convey their message.

Davy Spillane and his pipes.

While Jim Capaldi plays drums and percussion on this cut, Steve Winwood is featured on the lion’s share of instrumentation and the lead vocals. The uilleann pipes were provided by former Moving Hearts’ member Davy Spillane. The pipes add a nice touch to this song.