The 500 - #188 - Buffalo Springfield Again - Buffalo Springfield

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #188
Album Title: Buffalo Springfield Again
Artist: Buffalo Springfield

Genre: Multiple genres: Folk Rock, Psychedelia, Rock, Country Folk
Recorded: Three Studios - Two in Los Angeles, California, and one in New York City, New York

Released: October, 1967
My age at release: 2
How familiar was I with it before this week: A little

Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Mr. Soul

Much of my early exposure to music came from high school parties in the '80s. In a time before streaming music services, compact discs, music television and even the "mixed tape", the soundtracks at these teenage gatherings often emanated from the family record player. Consequently, entire album sides played to entertain this awkward, ebullient, juvenile congregation of (sometimes) stoned or drunk participants in the throes of developing their social skills.

  Some ‘80s parties relied on the old family stereo cabinet for music,

often tucked against a wood-paneled wall in a shag-carpeted basement.

The choice of music was reserved for the host. However, the music savvy were always nearby to offer suggestions. There were many records I first heard at house parties which are on The 500 list, including Paranoid by Black Sabbath (#131), Physical Graffiti from Led Zeppelin (#73) and this week's record, Buffalo Springfield Again, from Canadian/American folk rock group Buffalo Springfield. Formed in Los Angeles in 1966, the group comprised Americans Stephen Stills and Rich Furay, and Canadians Bruce Palmer, Dewey Martin and Neil Young.

Buffalo Springfield in 1966 (l-r) Stephen Stills, Rich Furay, Bruce Palmer, Dewey Martin and Neil Young.

I was pleasantly surprised by the sound of Buffalo Springfield the first time I heard it with friends who were mainly a heavy metal/classic rock crowd. At the time, most parties featured music by Def Leppard, Iron Maiden, Judas Priest and the aforementioned Sabbath and Zeppelin. To play music from a group influenced by folk, country and psychedelia, like Buffalo Springfield, seemed an odd choice. However, this was one of the best things about being at a party. It was a chance to hear something new and learn about a different group. I distinctly remember reading the album jacket while this record played. I liked the name Buffalo Springfield – not knowing they took their name from a company that made industrial steamrollers.

The back cover of the Buffalo Springfield Again album.

In a previous post about Neil Young's 1979 record, Rust Never Sleeps (#351 on The 500), I wasn't charitable in my assessment of his nasal-sounding voice. However, I didn't mind it on the opening track, Mr. Soul, which has been a personal favourite  since I first heard it. As I said in that post, Young’s voice has grown on me. Like a fine wine, my appreciation of his talent has grown with age. The rest of the record is terrific, with four of the five members taking vocal duties on the 10 tracks. I've always been a fan of harmonies and variety on a record, which Buffalo Springfield Again delivers in spades. As I revisited it for this post, I was surprised to realize I hadn’t purchased a copy for my collection. Probably in my youth I failed to recognize how good this album is.

Buffalo Springfield induction into the Rock and Roll Hall of Fame
in 1977 - Young chose not to attend.

The group released only three records between 1966 and 1968 before disbanding to pursue other projects. However, their influence was seismic, hence their induction to the Hall of Fame in 1997. Some members went on to enjoy successful solo careers; others either formed or joined bands that became popular and often influential. Among them were Crosby Stills Nash & Young; Poco; The Flying Burrito Brothers; and Manasas.

Buffalo Springfield left a music legacy that continues today. Surprisingly, they are not represented on the 2020 500 list, which is a glaring omission.

The 500 - #189 - Happy Trails - Quicksilver Messenger Company

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #189
Album Title: Happy Trails
Artist: Quicksilver Messenger Company

Genre: Multiple genres: Acid Rock, Psychedelic Rock
Recorded: Live at the Filmore West Music Club (San Francisco) and the Filmore East Music Club (New York City).

Released: March, 1969
My age at release: 3
How familiar was I with it before this week: Not at all

Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Mona

Earlier this month, October, 2024, the Dave Matthews Band (DMB) was inducted into The Rock and Roll Hall of Fame. The DMB is a divisive band -- people tend to love or loathe them. I fall into the first category. I went through a passionate DMB phase in the 1990s and early 2000s, seeing Dave with and without his band perform live at least six times in various locations, including Mississauga, Toronto, Rochester, N.Y., and Tampa Bay.

My first DMB show at Arrow Hall in Mississauga, Ontario.

Much like the DMB, the Rock and Roll Hall of Fame is divisive. Musicians become eligible for entry into the Hall 25 years after the release of their first recording. After being nominated, ballots are sent to more than 1,000 "rock experts". Seven to nine bands or musicians are chosen for induction. As of 2012, fans could also participate in the voting. It was they who put the Dave Matthews Band over the top and secured their admission this year.

The eight bands and solo artists inducted in 2024.

Fans of the DMB – sometimes called "Daveheads" or "Ants" (after one of their earliest and most popular song, Ants Marching), are a passionate lot. They often travel to multiple Dave shows every summer. The DMB are often called a jam band. Unlike many other touring band, they do not have an established setlist for the songs they play at their performances.  Instead, they decideon stage which song to play next. Then, they "jam" each piece – collaboratively improvising on the chord patterns and rhythmic groove, with different members taking solos. Their musicianship is exceptional -- even those who loathe the band will concede this point.

Dave Matthews Band, mid jam, Dave at centre. 

DMB's jam-style has its roots in the psychedelic music of the 1960s, which included The Grateful Dead (four records on The 500) and this week's artist, Quicksilver Messenger Service (QMS). Formed in 1965, QMS rose to popularity in the San Francisco music scene. They were not as commercially successful as their Bay Area contemporaries (The Grateful Dead or Jefferson Airplane - with, collectively, six records on The 500) but were integral to the improvisational movement.

The Quicksilver Messenger Service in 1970 (l-r) John Cipollina, 
Greg Elmore, Nicky Hopkins and David Freiberg

It would be disingenuous if I didn't mention the other commonality between all these bands -- recreational drug use. QMS are often called an acid rock band, a genre that evolved out of the garage band sound of the 1960s when it interacted with the psychedelic subculture, with San Francisco being, arguably, ground zero. Thousands of teens and young adults migrated to the area, protesting the Vietnam War, celebrating peace and love and experimenting with lysergic acid diethylamide (LSD) -- commonly dubbed "acid".

West Coast "Hippies" protesting the Vietnam War.

As I listened to Happy Trails, the second record from Quicksilver Messenger Service, I could feel the connections between the acid rock of the ‘60s and the jam bands that I loved in the ‘ 90s, including the DMB. I imagine I would have been happy to experience the San Francisco scene during those strange, turbulent days, and delight at the musicianship of QMS, particularly their guitarist, John Cipollina. There is something magical about talented musicians who can communicate and collaborate with each other with seemingly effortless precision -- I am filled with both awe and envy.

John Cipollina with his one-of-a kind amplifier stack, featuring
six Wurlitzer horns, modified from an organ.

QMS are, much like DMB, still touring today. Only guitarist David Freiberg remains from the original band. They continue to release live records that capture their improvisational, acid rock style. Unfortunately, they have not been inducted into The Rock and Roll Hall, and without a passionate fan-base like the Daveheads, they likely will not be. You can, however, see Cipollina's incredible amplifier stack at the Hall on your next visit. Just don’t confuse your QMS with your DMB or that LSD…it might not work out well.

The 500 - #190 - Elvis - From Elvis In Memphis - Elvis Presley

 I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #190
Album Title: From Elvis In Memphis
Artist: Elvis Presley

Genre: Multiple genres: Rock, Soul, Country, Blues
Recorded: American Sound Studios, Memphis, Tennessee

Released: June, 1969
My age at release: 3
How familiar was I with it before this week: Somewhat

Is it on the 2020 list? Yes, at position #322 - dropping 132 spots
Song I am putting on my Spotify Playlist: Suspicious Minds

When I was about ten years old I goaded my mother into buying the compilation album Elvis' Gold Records during a trip to a department store. My music fandom had started and I'd already "claimed" a number of records in my parents vinyl collection as my own -- moving them from the stereo cabinet in the family room to the shelves of my room. It was the first record I had a role in purchasing. Consequently, when asked: "What was the first record you bought as a kid?" I sometimes want to say Elvis' Gold Records - but that isn't entirely true, as my wallet never opened.

I listened to it hundreds of times, often while doing homework in the family room. That winter of 1975, I visited England for two weeks and learned that my uncle was also a huge Elvis fan. He was even a member of the U.K. Elvis Presley Fan Club and had dozens of issues of The King's monthly magazine, which he generously gave me to take home to Canada.

Each issue was smaller than a standard magazine -- a little larger than a paperback novel. In the middle was a centerfold  picture of Elvis doing something incredibly cool (sitting on a motorcycle or on stage, wowing  a crowd with his guitar). Oblivious to the fact that these magazines would become  collectors’ items, I dissected every one for wall decoration, hanging pictures of The King alongside posters of superheroes and hockey players. It would be another year before my hormones kicked in and wall space was reclaimed for the now famous Farrah Fawcett-Majors red swimsuit poster. Such are the priorities that come with growing up.

The famous Farrah Red Swimsuit 

poster which sold 12 million copies.

I wanted the Farrah poster so much that I walked 30 kilometers (round trip) to the nearest drug store (in Leamington, Ontario) that sold it. Foolishly, I bounced the tightly rolled and shrink-wrapped poster against the side of my leg for much of the trek home. Consequently, my swimsuit poster had thousands of tiny, uniformly placed distress marks covering it. This really didn't matter -- it was nearly impossible to suppress Ms. Fawcett's beauty, or my star- struck adulation.

Another pic from the 1976, Bruce
McBroom photo shoot of Farrah.

From Elvis in Memphis was released during a turning point in Presley's career. After returning from military service in 1960, Presley was convinced by his manager, Colonel Tom Parker, that he should shift his focus from live performances and albums to film roles and soundtracks. Despite some early success, the commercial fortunes of these movies and their accompanying soundtracks steadily diminished. From 1964 to 1968, Presley had only one Top Ten Hit, Crying In The Chapel, a gospel song released in 1965, but recorded five years earlier.

Album cover for the single Crying In The Chapel. 

Additionally, music was changing. The British Invasion was in full swing and, at the age of 35, Elvis seemed like a dinosaur in the changing pop culture landscape. Then, on December 3, 1968, everything shifted anew. Presley, along with producer Bob Finkel and director Steve Binder, presented a television special that reflected the musical trends of the time in order to appeal to a younger audience. The concert, Singer Presents...Elvis was a massive success and is now commonly called, The '68 Comeback Special.

Poster for the Elvis Television Special.

The next year, Presley continued on his new path by aligning with  another studio, American Sound in Memphis. He also opted to work with the studio’s house band, informally known as The Memphis Boys.

The Memphis Boys with Elvis in 1969.

From Elvis in Memphis was well received, reaching #13 on the Billboard Chart and #2 on the Country Chart. The only single, In The Ghetto, reached #3 and the album was certified gold the same year. It has continued to grow in popularity among fans and critics. Reporter Christel Loar even said "it rivaled Presley's early recordings in terms of historical importance and innovation...a downright essential for any Elvis fan or music fan."

Label for In The Ghetto single.

Listening to From Elvis in Memphis for this week’s blog was a pleasure and rekindled my fandom for The King more than 50 years ago. I eventually settled on the classic Suspicious Minds for my Spotify Playlist even though it didn't appear on the original album, but was added to the 2000 CD release which contained an additional six tracks.

The 500 - #191 - Fun House - The Stooges

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #191
Album Title: Fun House
Artist: The Stooges

Genre: Multiple genres: Proto Punk, Experimental Rock, Garage Rock, Punk Jazz 
Recorded: Electra Studios, Los Angeles, California

Released: July, 1970
My age at release: 4
How familiar was I with it before this week: One Song

Is it on the 2020 list? Yes, at position #94 - climbing 97 spots
Song I am putting on my Spotify Playlist: Dirt

Last week, I got another chance to see American rock band The Doobie Brothers perform. The celebrated group, who hail from San Jose, California, are marking their 54th anniversary as a band by  commemorating their 2022 induction into The Rock and Roll Hall of Fame. The multi-instrumental septuagenarians brought terrific energy to London, Ontario, for a spirited, break-free, two-hour performance.

Beyond their talent, catalogue of hit songs, effortless grooves and four-part harmonies, The Doobie Brothers also dabble in multiple genres. At their recent performance, they played their interpretations of blues, jazz, hard rock, progressive rock, Americana country, pop, bluegrass and blue-eyed soul. Like the weather in Scotland, "If you don't like the sound The Doobie Brothers are making, just wait five minutes, it'll change."

The same can be said about this week’s fare from The 500 list – The Stooges and their second studio release, Fun House, which includes garage rock, hard rock, psychedelic stoner jams and experimental, jazz-influenced noise. It was a precursor to the punk rock genre that exploded a few years after its release. The album is considered  integral to the development of punk and Stooges lead singer Iggy Pop (born: James Osterberg Jr.), is often dubbed "The Godfather of Punk".

Iggy Pop, 1970, at a Stooges concert in Cincinnati. 

Originally billed as The Psychedelic Stooges, the group formed in Ann Arbor, Michigan, in 1967 and they released their self-titled debut record two years later. Initially a quartet, they comprised Pop (vocals), Dave Alexander (bass), Ron Asheton (guitar), and Scott Asheton (drums).

The Stooges album cover (#185 on The 500).

Although aware of The Stooges and a fan of Iggy Pop's solo work and acting career, I only really knew the "hits" that were played on commercial radio or appeared on movie soundtracks. These included,  Down On The Street, I Wanna Be Your Dog, and Search And Destroy. So, in preparation for this blog I cued up Fun House for my first extensive listen to their work.

Back cover and track listing for Raw Power by The Stooges.

I was not disappointed. The first six tracks are raw, powerful and undeniably engaging capturing intensity, urgency and even some danger. In his 1981 book, Christgau's Record Guide: Rock Albums Of The Seventies, author Robert Christgau described it thusly:

"Now I regret all the times I've used words like 'power' and 'energy' to describe rock and roll, because this is what such rhetoric should have been saved for. Shall I compare it (Fun House) to an atom bomb? a wrecker's ball? a hydroelectric plant? Language wasn't designed for the job."

That said, the final track, L.A. Blues, might not be for everyone and, I'll admit, I skipped it a few times on repeated listens. The song features a fifth Stooge, Steve Mackay, on saxophone. L.A. Blues is cacophonous and discordant, featuring a wailing, screeching improvisational saxophone solo punctuated by Pop's unintelligible screams in the background. It could be likened to a shotgun marriage between acid jazz and a torture scene in a horror film.

Steve Mackay with Iggy Pop in 2010.

With the exception of Pop, all the original members of The Stooges have passed on. Much like The Doobie Brothers, however, 77-year-old Iggy continues to perform live. He also continues to bring a raw, unfettered and, frankly, enviable energy that belies his advanced years. It makes me look forward to listening to the next Stooges' record on The 500 in six weeks.

The 500 - #192 - The Gilded Palace of Sin - The Flying Burrito Brothers

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #192
Album Title: The Gilded Palace Of Sin
Artist: The Flying Burrito Brothers

Genre: Country Rock
Recorded: A&M Studios, Hollywood, California

Released: February, 1969
My age at release: 3
How familiar was I with it before this week: A little

Is it on the 2020 list? Yes, at position #462 - dropping 270 spots
Song I am putting on my Spotify Playlist: Hot Burrito #2

Despite being a commercial disappointment, The Gilded Palace Of Sin has been applauded by critics, citing it as a seminal influence on multiple artists, many on The 500 list, including Eagles, Lucinda Williams, Wilco and Steve Earle. Elvis Costello, with four records on The 500, considers it among his favourite albums of all time, having performed several of the group's songs while touring. He even recorded Hot Burrito #1 (renamed I'm Your Toy) on his 1981 record, Almost Blue.

Album cover for Elvis Costello's Almost Blue.

The Flying Burrito Brothers comprised Gram Parsons (guitar, piano, organ, vocals), Chris Hillman (guitar, mandolin), "Sneaky" Pete Kleinow (pedal steel guitar) and Chris Ethridge (bass guitar, piano).  Eddie Hoh is credited as the drummer on the songs, but he was a session player and not a member of the group. The quartet formed in Los Angeles in 1968 shortly after Parsons and Hillman left The Byrds. Coincidently, this was after the recording of The Byrds’ sixth record, Sweethearts Of The Rodeo (#120 on The 500), which also had limited commercial success. Like The Gilded Palace Of Sin,  it, too, is considered massively influential in the country rock genre.

Album cover for Sweethearts Of The Rodeo from The Byrds.

I wasn't familiar with Gilded Palace until I came across it while researching my May, 2020, post about Grievous Angel by Gram Parsons (#425 on The 500 list). As a result, Parsons finds himself on three records on The 500, appearing with two  groups – The Flying Burrito Brothers and The Byrds, and as a solo artist. The solo effort joined the other two in being a commercial disappointment that was later accorded tremendous critical acclaim and powerful influence. It was a remarkable legacy for Parsons who died at the age of 26.

Album cover for Grievous Angel by Gram Parsons.

Much like painter Vincent Van Gogh and poet William Blake, Parsons did not live long enough to witness the impact his art would have on the world. He would have turned 78 this year, and I imagine he would be delighted to know that his fusion of country, R&B, soul, funk, psychedelia and rock into a genre he called "Cosmic American Music" had made a powerful impact on the music industry. Among his beneficiaries were many successful musicians and songwriters.

Parsons in his Nudie Cohn designed "Nudie Suit" from the
album jacket to "The Gilded Palace Of Sin".

That said, there is a mystic aura attached to those who leave this world while young. In Greek mythology, it was believed that those favoured by the gods were taken at an early age -- hence the expression, "Only the good die young." The Bible, in Isiah 57:1, suggests that "the righteous perish... before their time...to be spared the evil of the world".

It is the reason that James Dean and Marilyn Monroe remain an enduring symbol of youthful beauty and why musicians such as  Kurt Cobain maintain legendary status. Dean and Monroe never faced the challenges of aging in the public eye, and Cobain left the earth after recording three groundbreaking records, including Nevermind (#17 on The 500). Cobain didn't live long enough to record a bad record or become embroiled in a negative controversy.

Marilyn Monroe remains a symbol of beauty and youth, in part
because of her untimely demise at 36.

Actor John Cazale only appeared in five films during his seven-year career –  The Godfather, The Conversation, The Godfather II, Dog Day Afternoon and The Deer Hunter, each of which was nominated for, or won, Academy Awards for Best Picture. It's a heck of a resume and his death in 1978 made him one of the few actors about whom it can be said only made award-winning films.

When all is said and done,  I am delighted to be on this side of the grass -- showing the impact of aging.  I won't be a groundbreaking musician who revolutionized an art form or an Oscar-winning actor. However, I am working with Teacher Candidates who are 35 years my junior and I'm sure some of the lessons, strategies and activities I share with them will live beyond me. Additionally, there are the 1000 students who have been in my classes.

I also have this blogging project which will rattle around the internet in perpetuity. It's no Nevermind, no Dog Day Afternoon or Gilded Palace Of Sin, but I'm proud of it and I get to keep adding to it in my late-fifties. Perhaps dying successful and young isn’t so great after all – but more about doing your best and contributing your talents, no matter how small, throughout one’s days.