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Post by rizzuto on Feb 2, 2022 18:50:48 GMT -5
Muskrat Candlelight was the original name of the song and was written by 21 year old Willis Alan Ramsey on his eponymous album from 1972, produced by Leon Russell on Shelter Records. To this day, it is the only album he ever released and influenced artists from Lyle Lovett to Shawn Colvin. It’s a great album, even if you don’t care for the original song. Even muskrats need love… He’s got another song called Geraldine and the Honey Bee, about a bee that falls in love with a chrysanthemum.  |
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Post by rizzuto on Feb 2, 2022 18:53:10 GMT -5
Now you’ve done it! Who did it best? Cie La Vie (You Never Can Tell). Chuck Berry Bob Seger (other, please name). I love Bob Seger’s version… To me, any song Chuck Berry wrote, he did the best version. That barrell-house piano (John Johnson I think?) and rollicking sax put it in the stratosphere for me (and of course our friend Quentin Tarantino.) Although I thought Elvis did a nice cover of "Promised Land" and Lonnie Mack's instrumental version of "Memphis," while practically a different song, is excellent. I like the Beatles' take on both "Rock and Roll Music" and "Roll Over Beethoven," and The Beach Boys turned "Sweet Little Sixteen" into "Surfin' USA" but did give Chuck writer's credit. No single artist "invented" rock and roll, which was a gradual, organic process. But a good case can be made that Chuck Berry and Buddy Holly were the most important artists in developing the strands that defined the direction of rock music in its beginning. Elvis, Bo Diddley, Little Richard, Carl Perkins, add your own favorites, were all indispensable. But the sheer number of covers or imitations from Berry and Holley put them in the forefront. In my always questionable opinion. Complete agreement when it comes to Chuck Berry. I’m not sure anyone was more influential or did it better. |
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Post by chiyankee on Feb 2, 2022 18:58:33 GMT -5
I have probably watched this at least fifty times. An artist and a guitar. Doesn’t get much better for me. I've watched it 50 times too. I bet Chi's seen it 100 times.  This is from a solo show Neil did in London for the BBC right before Harvest was released. I have the bootleg of the show and have listened to it at least 100 times.  |
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Post by pippsheadache on Feb 2, 2022 19:02:03 GMT -5
America had several songs with obscure if not downright meaningless lyrics-- right off the bat, "A Horse With No Name," their first release in 1971, and most famously a few years later "Tin Man." And the execrable "Muskrat Love," which certainly earned them musical demerits, but not as many as The Captain and Tennille get for actually covering it. Having said that, I generally enjoyed most of their hits -- I am a sucker for three-part harmonies -- especially "Ventura Highway" and the more modest hit "Don't Cross The River" and the sweet harmlessness of "Today's The Day." "I Need You" is another good one for working on your three-part harmony ear. Rizz, "A Horse With No Name" was surely a logical one for your first foray into guitar playing. Two chords, the simple Em and then the equally simple D6/9 (I don't know any other song where it is used, hence the nickname "Horse Chord.") Unfortunately that song was well into the future when I first picked up a cheap Kay guitar and started strumming. The only two-chord song I knew of back then was "Jambalaya," so I made the leap to three chords and amused myself with Buddy Holly's "Words Of Love" for my pathetic start. With A-D-E and a little picking within the chords, it almost resembled real music. Other two-chord songs that jump to mind are "Pushin' Too Hard" by The Seeds, "Paperback Writer" by The Beatles and "Born In The USA" by Springsteen. You need to bring a lot of other things to the table to make a two-chord song work. Muskrat Candlelight was the original name of the song and was written by 21 year old Willis Alan Ramsey on his eponymous album from 1972, produced by Leon Russell on Shelter Records. To this day, it is the only album he ever released and influenced artists from Lyle Lovett to Shawn Colvin. It’s a great album, even if you don’t care for the original song. Good info, Rizz. I have learned something new. I do think the presence of "Muskrat Love" on so many "worst song of all-time" lists is primarily due to the Captain and Tennille version rather than America's more low-key approach. "I've Never Been To Me," "Ebony and Ivory," "I Write The Songs," "Sometimes When We Touch," "I Honestly Love You" are among many perennials on that list. We all have our own hot buttons. |
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Post by rizzuto on Feb 2, 2022 19:05:49 GMT -5
I've watched it 50 times too. I bet Chi's seen it 100 times. This is from a solo show Neil did in London for the BBC right before Harvest was released. I have the bootleg of the show and have listened to it at least 100 times.  The song itself is a true work of art, and his treatment of it here is absolute perfection. He was just 25 years old. |
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Post by rizzuto on Feb 2, 2022 19:19:44 GMT -5
Muskrat Candlelight was the original name of the song and was written by 21 year old Willis Alan Ramsey on his eponymous album from 1972, produced by Leon Russell on Shelter Records. To this day, it is the only album he ever released and influenced artists from Lyle Lovett to Shawn Colvin. It’s a great album, even if you don’t care for the original song. Good info, Rizz. I have learned something new. I do think the presence of "Muskrat Love" on so many "worst song of all-time" lists is primarily due to the Captain and Tennille version rather than America's more low-key approach. "I've Never Been To Me," "Ebony and Ivory," "I Write The Songs," "Sometimes When We Touch," "I Honestly Love You" are among many perennials on that list. We all have our own hot buttons. A friend of mine - since deceased - in college introduced me to the album. Spider John hooked me, and over time the album continued to grow on me with each playing. Something that intrigued me was most people had/have never heard of Willis Alan Ramsey, except musicians and songwriters. What’s funny is that a few years later, upon first hearing it, Sarah absolutely hated the album. Wouldn’t allow me to play it in my car. Then, we saw him live at the Varsity on the LSU campus - probably around 1989 or 1990. Within a couple years, it had become one of her favorites. We saw him at the Strawberry Festival held in Yosemite National Park, in Houston, and in Dallas, shortly before her death. Here’s a song that’s one of my favorites that has never been on any album: |
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Post by Renfield on Feb 2, 2022 19:22:41 GMT -5
First time I've heard Spider John by the original artist. Always thought it was a Jimmy Buffett song since that's the version I'm familiar with. Sounds like a song Buffett would write. Thanks for sharing.
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Post by chiyankee on Feb 2, 2022 19:24:21 GMT -5
This is from a solo show Neil did in London for the BBC right before Harvest was released. I have the bootleg of the show and have listened to it at least 100 times. The song itself is a true work of art, and his treatment of it here is absolute perfection. He was just 25 years old. I recommend checking out Neil's "Live at Massey Hall" release from this same era. Neil was doing solo shows because he was still recovering from back surgery and it was too painful to prance around with an electric guitar. His voice on the Massey Hall recording is just incredible, as strong and clear as I've ever heard him. |
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Post by rizzuto on Feb 2, 2022 19:32:05 GMT -5
First time I've heard Spider John by the original artist. Always thought it was a Jimmy Buffett song since that's the version I'm familiar with. Sounds like a song Buffett would write. Thanks for sharing. Yep, I was a decorated and devoted Parrothead, and many of Jimmy Buffet’s fans think he wrote it. Essentially every song on the Willis Alan Ramsey’s album has been covered by someone. He’s got a tribute to Woody Guthrie on the album called Boy from Oklahoma. You can listen to the entire album on YouTube. It’ll wear on you over time. |
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Post by pippsheadache on Feb 2, 2022 20:20:23 GMT -5
Good info, Rizz. I have learned something new. I do think the presence of "Muskrat Love" on so many "worst song of all-time" lists is primarily due to the Captain and Tennille version rather than America's more low-key approach. "I've Never Been To Me," "Ebony and Ivory," "I Write The Songs," "Sometimes When We Touch," "I Honestly Love You" are among many perennials on that list. We all have our own hot buttons. A friend of mine - since deceased - in college introduced me to the album. Spider John hooked me, and over time the album continued to grow on me with each playing. Something that intrigued me was most people had/have never heard of Willis Alan Ramsey, except musicians and songwriters. What’s funny is that a few years later, upon first hearing it, Sarah absolutely hated the album. Wouldn’t allow me to play it in my car. Then, we saw him live at the Varsity on the LSU campus - probably around 1989 or 1990. Within a couple years, it had become one of her favorites. We saw him at the Strawberry Festival held in Yosemite National Park, in Houston, and in Dallas, shortly before her death. Here’s a song that’s one of my favorites that has never been on any album: Good stuff, and I must admit that I am among those unfamiliar with his work. Thanks for educating me. I did enjoy it. Other than the most monstrous crossover hits, my knowledge of country music is pretty slender until you go way back -- 50s through early 70s -- and even at that, I'm only a dilettante. Hank Williams, Kitty Wells, Ernest Tubb, Patsy Cline, Webb Pierce, Marty Robbins, Johnny Cash, Loretta Lynn, Waylon Jennings, Willie Nelson, Dolly Parton, Merle Haggard, Buck Owens -- that stuff I have some grasp of and deeply appreciate. But even guys like Lyle Lovett or Garth Brooks, I could barely name much they did. Skeeter Davis, on the other hand, I could listen to all day. |
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Post by pippsheadache on Feb 2, 2022 21:07:18 GMT -5
To me, any song Chuck Berry wrote, he did the best version. That barrell-house piano (John Johnson I think?) and rollicking sax put it in the stratosphere for me (and of course our friend Quentin Tarantino.) Although I thought Elvis did a nice cover of "Promised Land" and Lonnie Mack's instrumental version of "Memphis," while practically a different song, is excellent. I like the Beatles' take on both "Rock and Roll Music" and "Roll Over Beethoven," and The Beach Boys turned "Sweet Little Sixteen" into "Surfin' USA" but did give Chuck writer's credit. No single artist "invented" rock and roll, which was a gradual, organic process. But a good case can be made that Chuck Berry and Buddy Holly were the most important artists in developing the strands that defined the direction of rock music in its beginning. Elvis, Bo Diddley, Little Richard, Carl Perkins, add your own favorites, were all indispensable. But the sheer number of covers or imitations from Berry and Holley put them in the forefront. In my always questionable opinion. Complete agreement when it comes to Chuck Berry. I’m not sure anyone was more influential or did it better. One of those early Rolling Stone writers who over-intellectualized rock music said that Chuck Berry was rock's Walt Whitman and Buddy Holly was it's William Blake. As an extravagant admirer of Chuck Berry's music, I have to say that of the rock founding fathers I have seen in live performance, he was the one who most seemed to be there to cash a paycheck. He had that reputation -- meet his price and he'd play your company picnic, you provide the backup band to keep his road expenses down. To my shame I never saw Elvis or Fats Domino, and Buddy Holly died before I had a chance to see him, but among the building blocks I did see Little Richard, Jerry Lee Lewis, Bo Diddley, The Everly Brothers, Carl Perkins and Bill Haley. Other than the Everlys, who my aunt took me to see in 1960 (she was President of their Delaware Fan Club), none of them were in their heyday when I saw them, but they all gave strong performances. Little Richard was the most memorable, and he was in his 60s when I saw him. Very energetic and passionate. But they were all wonderful, with the sole exception of Chuck Berry. It's not that he was bad, just indifferent and seeming to be preoccupied with getting it over with ASAP. |
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Post by rizzuto on Feb 2, 2022 21:28:42 GMT -5
Complete agreement when it comes to Chuck Berry. I’m not sure anyone was more influential or did it better. One of those early Rolling Stone writers who over-intellectualized rock music said that Chuck Berry was rock's Walt Whitman and Buddy Holly was it's William Blake. As an extravagant admirer of Chuck Berry's music, I have to say that of the rock founding fathers I have seen in live performance, he was the one who most seemed to be there to cash a paycheck. He had that reputation -- meet his price and he'd play your company picnic, you provide the backup band to keep his road expenses down. To my shame I never saw Elvis or Fats Domino, and Buddy Holly died before I had a chance to see him, but among the building blocks I did see Little Richard, Jerry Lee Lewis, Bo Diddley, The Everly Brothers, Carl Perkins and Bill Haley. Other than the Everlys, who my aunt took me to see in 1960 (she was President of their Delaware Fan Club), none of them were in their heyday when I saw them, but they all gave strong performances. Little Richard was the most memorable, and he was in his 60s when I saw him. Very energetic and passionate. But they were all wonderful, with the sole exception of Chuck Berry. It's not that he was bad, just indifferent and seeming to be preoccupied with getting it over with ASAP. That's unfortunate. Doubtless, anyone can become jaded. So many instances of artists who wrote and performed both music and lyrics were left penniless due to nefarious labels, producers, and their lawyers. Fans should not be the ones to pay that toll. |
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Post by inger on Feb 2, 2022 23:56:06 GMT -5
I watched a one hour segment on AXS tonight with Matchbox 20. It was pretty cool, as they slowed most of their songs down, even doing some slow acoustic versions. I’ve been a fan of Rob Thomas vocals since they started out in the early-mid 2000’s and had seen him do a slow version of 3AM, explaining what inspired the song (his mother’s battle with cancer when he was 12-13 years old). As he said, you could listen or sing that song and imagine that, or you might imagine an ex-wife or girl-friend and it didn’t matter.
She says the moon don’t hang
Quite as high as it used to
(I think she’s crazy)
And the clock on the wall
Has been stuck at 3 for days and days (and days)…
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Post by rizzuto on Feb 3, 2022 0:01:49 GMT -5
I watched a one hour segment on AXS tonight with Matchbox 20. It was pretty cool, as they slowed most of their songs down, even doing some slow acoustic versions. I’ve been a fan of Rob Thomas vocals since they started out in the early-mid 2000’s and had seen him do a slow version of 3AM, explaining what inspired the song (his mother’s battle with cancer when he was 12-13 years old). As he said, you could listen or sing that song and imagine that, or you might imagine an ex-wife or girl-friend and it didn’t matter. She says the moon don’t hang Quite as high as it used to (I think she’s crazy) And the clock on the wall Has been stuck at 3 for days and days (and days)… Sarah liked them, had a couple of their CDs. I don’t know a single one of their songs. I’ll have to take a listen 👂. |
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Post by inger on Feb 3, 2022 9:47:27 GMT -5
I watched a one hour segment on AXS tonight with Matchbox 20. It was pretty cool, as they slowed most of their songs down, even doing some slow acoustic versions. I’ve been a fan of Rob Thomas vocals since they started out in the early-mid 2000’s and had seen him do a slow version of 3AM, explaining what inspired the song (his mother’s battle with cancer when he was 12-13 years old). As he said, you could listen or sing that song and imagine that, or you might imagine an ex-wife or girl-friend and it didn’t matter. She says the moon don’t hang Quite as high as it used to (I think she’s crazy) And the clock on the wall Has been stuck at 3 for days and days (and days)… Sarah liked them, had a couple of their CDs. I don’t know a single one of their songs. I’ll have to take a listen 👂. Their taking a risk by slowing the music down. People usually want to hear the version they heard on the radio. It’s almost like they’ve finished maturing as people and have allowed the music to mature along with them. I don’t think it’s something they’re going to do forever at every concert though. I enjoyed that particular airing. It has to be hard to play the same tunes every time. Sing the same words with the same timing. Almost forgot. They did a nice, quick and snappy version of “She Came In Through The Bathroom Window” that featured vocals by the guitarists, who can both sing a bit… |
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