Musical coincidences # 388

April 12, 2013

A recent Song of the day on this very blog was Flash and the Pan’s “Down Among The Dead Men”.

As I listened to it (yes, I do listen to the songs I put on the blog), I ended up with the opening piano melody stuck in me noggin. It was there in my head for quite a while, and as it sat there I started hearing another song.

For me, this…

Flash and the Pan – “Down Among The Dead Men (1978) (excerpt)

…slowed itself down, changed key, and became this:

The Hollies – “The Air That I Breathe (1974) (excerpt)

Here are the full versions:

Flash and the Pan – “Down Among The Dead Men (1978)

The Hollies – “The Air That I Breathe (1974)

And the completist in me wants to play you the original version of “The Air That I Breathe” as well:

Albert Hammond – “The Air That I Breathe (1972)

Song of the day: The Hollies – "Look Through Any Window"

April 7, 2013

I sometimes get the feeling that The Hollies were a good live band…

The studio versions:

The Hollies – “Look Through Any Window (1965)

The Hollies – “Very Last Day (1965)

The Hollies – “I Can’t Let Go (1966)

Song of the day: Michael Carpenter & Rob Smith – "Look Through Any Window"

July 3, 2012

The exhaustingly prolific Michael Carpenter, an Australian power-popper who apparently needs no sleep at all (just look at his discography), has released yet another album. This time it’s a collection of cover versions of some of his favourite songs. And in keeping with Michael’s I-never-stop ethic, this is his fifth album of covers. It’s called S​.​O​.​O​.​P #5 – Songs Of Other People, and you can hear it over at Bandcamp. For this particular album of covers, Michael brought a different guest musician on board for each song.

When I listened to the songs Michael had chosen for his fifth album of covers (Michael, have you ever heard of the term “I think I’ll have a day off”?), this one took my fancy:

Michael Carpenter & Rob Smith – “Look Through Any Window (2012)

Here’s the original:

The Hollies – “Look Through Any Window (1965)


Official website

Musical coincidences # 172

January 31, 2012

I’m sure this is a coincidence. Maybe.

The Strangers – “Lady Scorpio” (1969) (beginning)


The Hollies – “Magic Woman Touch” (1972) (beginning)


Here are the full versions:

The Strangers – “Lady Scorpio” (1969)


The Hollies – “Magic Woman Touch” (1972)


Musical coincidences # 161

December 19, 2011

A few days ago, fellow blogger Powerpopulist (Hi, big P!) posted a song by The Resonars called “She Did“. There’s a bit in it that reminded me of something very well known. In the Resonars’ song it’s the accented phrase at the end of the bar where the backing vocals sing “yeah yeah”. You can hear it at the end of this excerpt:

The Resonars – “She Did (2008) (excerpt)


That reminds me of the accented bit in The Hollies‘ “Look Through Any Window” where they sing “the highways and the byways”:

The Hollies – “Look Through Any Window (1965) (excerpt)


Here are the full versions:

The Resonars – “She Did” (2008)

The Hollies – “Look Through Any Window (1965)


Musical coincidences # 119

July 12, 2011

Sometimes it’s frustrating when you’re nowhere near as clever as you think.

I thought I’d made a startling discovery with today’s coincidence, but no. It’s all fully documented on Wikipedia.

Here’s the sequence of events:

1. I was listening to The Hollies‘ mammoth (6-CD) compilation, Clarke, Hicks & Nash Years: The Complete Hollies April 1963 – October 1968, enjoying it, and being reminded that this was indeed the trebliest band ever recorded.

2. Track 14 on CD 3 was a song of theirs I’d never heard before. It’s called “Stewball”. The main vocal melody sounds like this:

The Hollies – “Stewball” (1965) (excerpt)


3. I couldn’t believe I was hearing that melody, because I know it as:

John & Yoko/Plastic Ono Band with the Harlem Community Choir – “Happy Xmas (War is Over) (1971) (excerpt)


4. I thought, “This is magnificent. What an amazing thing for John Lennon to have done. And nobody seems to have noticed. Wow. What a discovery.”

5. I went off to my one-stop shop for knowledge, Wikipedia, to see if anyone else had noticed the similarity. And there it was:

“Happy Xmas (War Is Over)”: Composition
The melody and chord structure are from the folk standard “Stewball”, about a race-horse.

6. Oh.

7. I thought that The Hollies’ “Stewball” was an original song by them. But as that Wikipedia snippet mentioned, the song is an old folk standard. Well whaddaya know?

Now that I’ve been brought back down to Earth (Reminder to self: you’re nowhere near as clever as you think you are, Smarty Pants), I’ll just sit quietly and continue listening to that Hollies compilation.

Here are the full versions:

The Hollies – “Stewball” (1965)


John & Yoko/Plastic Ono Band with the Harlem Community Choir – “Happy Xmas (War is Over) (1971)


Frank’s Faves on Fridays

February 25, 2011

Gleaming Spires – “Are You Ready For The Sex Girls” (1982)

I’d never heard of a band called Gleaming Spires before. I was hoping that the name had something to do with architecture, but considering the name of this song, it may mean something a whole lot ruder (“gleaming spires“?). Another thing I found slightly bothersome was the possibly dubious grammar of the song’s title. Did the author of the song forget a comma? Is the singer asking some girls “Are you ready for the sex, girls?” or is the singer asking about “sex girls” (whatever they are)? And where’s the question mark? (Note to self: How about I just listen to song and find out for myself instead of typing time-wasting questions?) Apart from those completely pointless ruminations, I must admit that I find this song almost totally dreadful. It doesn’t work for me as satire, irony, kitsch, or even sarcasm. Anything. I don’t even like the tunes much. I’m going to listen to this three times (I have to), but my brain has already decided that after one listen it’s not going to like the next two spins. Update: I’ve now listened to it three times. I didn’t think it was possible, but I liked it even less after the third listen. The only phrase I can think of to describe my experience of this song is: “I endured it.” I’m looking forward to never hearing this song ever again.

Arlo Guthrie – “Deportees (1974)

I don’t know why, but I didn’t enjoy this particular track anywhere near as much as I thought I was going to – even with Emmylou Harris‘ stellar backing vocals. I normally enjoy a bit of folk, but found this a tad annoying. I’m usually on board with social commentary in song, but I found this a little too earnest, or worthy. I have a vague feeling that I’m not supposed to criticise the lyrics because of the subject matter, but I didn’t respond to them with any of the sense of outrage and injustice that was probably intended. Maybe I just wasn’t in the mood for it. Maybe a part of me wanted to hear it sung by the song’s original author, Arlo’s father Woody. Now, that would have made it a real dustbowl song. But as it is, “Deportees” didn’t do much for me at all. However, it’s entirely possible that I’ll be in a folk mood next week. Or not.

The Hollies – “Step Inside” (1967)

I’m going to get this criticism of The Hollies out of the way as quickly as possible: I’ve always – and I mean always – found The Hollies recordings to be too trebly. Or, putting it another way: every Hollies recording I’ve ever heard has sounded thin and high to me. (Recording engineers put it even more succinctly: “Too much top end, mate!”). OK. That’s my sole criticism of The Hollies. Everything else about The Hollies? Marvellous. I wanted to get the unpleasantness out of the way quickly, to minimise any potential vitriol (it’s sometimes perilous to criticise bands cherished by power pop fans who tend to have very strong views about their musical heroes). Now I can focus on the song itself. Being a casual fan of The Hollies (I’m nowhere near as rabid about them as a lot of other power pop fans are), I haven’t heard “Step Inside” before. I’m glad you chose this particular song, because I’m enjoying it enormously. Even on the first listen I discovered plenty of things in it that I can yak about. Unfortunately, those things aren’t particularly interesting, mainly because they’re predominantly about the production, not about the tunes or the singing or the overall performance or the song structure – you know, the stuff that matters. But I feel compelled to let you know about the things I found interesting because… well, because I found them interesting. To make this as un-boring as possible for you, I’ll try to itemise them briefly:

  1. I love the bass guitar sound. (Sorry about the bass-player talk coming up.) The Hollies’ bass player, Bernie Calvert, is playing with a pick and playing up close to the neck of his bass, giving it a unique, hollowed-out kind of sound. In the lead-up to the first chorus – from 0:49 to 0:58 – Bernie plays so close to the neck that the bass sound almost disappears completely (especially between 0:49 and 0:51). However, by the time he gets to that chorus (at 0:58), he’s moved his picking hand further away from the neck so that the bass sound comes back stronger. As a bass player, I find all of this intriguing. And I fully realise that absolutely nobody else will.
  2. There’s a wonderful stereo spread in the song up until the middle eight. Then it gets weird. At 1:12 the bass and drums both travel to the left channel and stay there for the entire middle eight. And also at 1:12, as the bass and drums are moving over to the left, there’s a tom-tom in the right channel. (Maybe it’s complaining about the rest of the drums being moved to the left channel.) But… just before the end of the middle eight (at 1:25), the stereo picture is suddenly restored to its original state (i.e., how it was when the song started). But then, puzzingly, during the guitar solo it reverts to the middle eight’s stereo picture (i.e., bass and drums in the left channel). Huh?
  3. I don’t know about you, but the sound of the guitar in the guitar solo reminds me an awful lot of George Harrison (i.e., Bearded Guru George, not Moptop George). To me, that’s the sound of a guitar being fed through a Leslie speaker. (George came to prefer that guitar sound in The Beatles’ latter days. You can hear the George Harrison Leslie Sound here.)
  4. During the guitar solo, and while the drums (and bass guitar) are still in the left channel, there’s a crash cymbal in the right channel at the start of every bar (except for the second bar of the solo, at 1:35 – I don’t know why the drummer, Bobby Elliott, didn’t hit the cymbal at the start of that bar). And at the end of the guitar solo, with the drums still in the left channel, there’s a snare drum fill in the right channel (1:47-1:49). Unusual.
  5. Going back to the middle eight momentarily, there’s an electric guitar playing in the background. That electric guitar part reminds me of the main guitar part in “Long Cool Woman In A Black Dress“. You can hear it more clearly in the second middle eight (from 1:49 to 2:00).
  6. The last chorus changes key by going up a semitone (at 2:32). The effect is like a burst of sunshine. Lovely.

Sorry if you found yourself yawning through most of that, but I found the song fascinating for its production. Oh, yeah – and I liked the song, too.

The Mascots – “Words Enough To Tell You” (1966)

Before I had a listen to this song, I went a-roamin’ the Internet for some information. The Internet told me that The Mascots were a Swedish band from the 1960’s. I’m very interested in hearing this song. The Internet also told me this:

The song “Words Enough To Tell You” was written for a special occasion. The magazine Bildjournalen held in 1965 a competition for the best pop song. The entries (in addition to the Mascots, the Shanes and Merrymen were in the competition) were released on a flexi-record and included in the newspaper like a supplement. The readers voted, and the Mascots won the competition! “Words. . .” was released on vinyl a year later, but it was a bit late by then!

I love the Internet.

Now to listen to the song. (Note to self: press “play”, Peter.) Okey dokey. I’m now listening to The Mascots’ “Words Enough To Tell You” and I’m thinking of one word, and that word is “excellent”. It’s yet another example of how the British Invasion affected pretty much every country on Earth that had musical groups in it. I love how these Swedish chaps sing the word “rather” (at 0:09) with the decidedly upper-class English intonation instead of the standard American-English. In other words, they sing “rah-ther” with an elongated “rahhhh” as in a cheerleader’s “rah-rah” instead of the short, straight, up-and-down “ra” as in “rapscallion”. I love the pronunciation because: a) you very rarely hear it in songs; and b) that’s the way I talk. (Although I’m not an upper-class Englishman, I say “fah-ther”, “fah-ster”, “mah-ster”, “pah-sta” etc.) Although I’m enjoying this song a great deal, I think that as far as non-British British Invasion bands go, The Mascots aren’t a patch on Uruguay’s Los Shakers. (Los Shakers had fabulous Beatles songs with great tunes.) But as for this song by The Mascots, I’m loving it. It’s a wonderfully easy-going, acoustic-guitar-based, mid-tempo Beatles song not by The Beatles. Yum.

Bonus instrumental:

The Bar-Kays – “Soul Finger (1967)

This track, to me, is almost The Ultimate Soul Compendium. It perfectly encapsulates 60’s Soul because I think it sounds like every 60’s Soul song ever recorded crammed into one two-and-a-half-minute song. A riff from somewhere, a rhythm from somewhere else, brass playing from somewhere else again, you name it – if it appeared in a Soul song in the 60’s, I reckon it ended up in “Soul Finger”. Mighty good. If any young person out there says, “Yeah, I’ve heard about Soul music – what does it sound like?”, I recommend you simply put on “Soul Finger”. Easy.

Musical coincidences # 71

January 30, 2011

Do you remember “Summer Breeze”, the 70’s AM soft-rock hit by Seals & Crofts which starts off with that tune played by a toy piano and something else*? You do? Excellent.

If you’ve forgotten that opening tune, or in the (extremely unlikely) event that you haven’t even heard it before, here’s a reminder:

Seals & Crofts – “Summer Breeze (1972) (the opening tune that everyone knows)


That was released in September 1972. (The date matters because of what’s coming up.)

Now, I reckon if you slow it down a little, change just a few notes around, you could have something that sounds like this:

The Hollies – “Touch” (1972) (opening tune)


Here’s where the date matters. That Hollies song appeared on their album Romany which was released three months later in November 1972. Yep, only three months.

By the way, you can hear the similarity to the “Summer Breeze” tune much more clearly in Carla Olson‘s version of “Touch”:

Carla Olson – “Touch” (1988) (the opening tune)


Full confession time: I noticed the similarity when I heard Carla Olson’s version of “Touch”, not the original by The Hollies. (I actually didn’t know about that Hollies song at all until I heard Carla’s version on the Hollies tribute album, Sing Hollies In Reverse).

Here the full versions:

Seals & Crofts – “Summer Breeze (1972)


The Hollies – “Touch” (1972)


Carla Olson – “Touch” (1988)


(*I don’t know what that something else is.)

Song of the day: The Twilights – "What’s Wrong With The Way I Live"

January 21, 2010

Here are The Twilights asking the perfectly reasonable question:

The Twilights – “What’s Wrong With The Way I Live” (1967)


And here are The Hollies who wanted to know the same thing (but they asked first):

The Hollies – “What’s Wrong With The Way I Live?” (1966)


Unless you can tell me the difference between the two, that version by The Twilights is identical to the original – same tempo, same key, same instrumentation (right down to the banjo), and even the same harmonies. (Yes, there are different people singing, but it’s the same.)

It’s all the same.


And what is wrong with the way they live?