Crank up yer Victrola Grandma, it’s The Beach Boys!

Saturday, April 16th is Record Store Day all over the world I guess, and I don’t know who started it or how long it’s been around, but record companies have embraced the occasion by releasing rare collectables on that day.

The most recent addition is a double A side 78rpm vinyl of The Beach Boys two classic SMiLE era tunes, “Good Vibrations” and “Heroes And Villains”.

Ok, so we all know that vinyl is “back”, but 78 rpm? This is actually a trend that we may see more of believe it or not. Many of the newer turntables being sold right now have the faster speed available, and although I make no claim to being an audiophile, it makes sense if you think about it that faster RPM’s combined with wider grooves etched into the vinyl result in better sound quality.

A recent re-issue of XTC’s “Skylarking” that came out late last year was released as a two record vinyl set at 45rpm speed. The result was nothing less than incredible. It’s also been rumoured that Frank Zappa’s classic “Hot Rats” album will also see a vinyl release soon in a faster speed format.

The release also adds fuel to the smoldering fire that suggests that Capitol Records has a plan at least in principle to release the unfinished SMiLE tapes as a box set or some other format. Those of us who have longed forever to see official release of this material have the right to be somewhat jaded because A) we’ve already got the stuff on bootlegs and B) we’ve fallen for this trick before. It still makes me wonder though as to what’s actually inside the deep dark catacombs of the Capitol Records vaults, and is there actually something of substance that we in fact have not heard yet.

AXE VICTIM-Bill Nelson rejected stardom while creating some of the greatest rock music of the 1970’s

He wrote better songs than Bowie. He played a meaner guitar than Marc Bolan. During a period of rock and roll that showcased glitter, mirrored top hats, face paint and leotards, he and his band would take the stage in impeccably tailored three piece suits. The time was the mid 1970’s, the artist is Bill Nelson and the band was Be-Bop Deluxe.

Nelson certainly played the game initially in order to get noticed. Back then, having good tunes was not enough. Wild costumes and shock value showmanship were absolutely necessary. Their first album had the face of a human skull fashioned into the body of an electric guitar. On the back cover was a photo of the band camped up with teased out hair and plenty of eye shadow. But all you had to do was drop the needle on side one, track one and listen to the lyric to realize there are deeper issues at play here.

“ He came to watch the band….to see us play our parts…We hoped you’d lend an ear…You hoped we’d dress like tarts….but backstage we stand naked….all the makeup cleaned away…my poet sheds his pretty skin, and turns to face the day…..”

So here comes the talent scout, eager to sign the next big thing. The band wants their music to be heard, but the AOR guy wants to see androgyny. To him, the image means everything but to the artist , it’s a necessary evil in order to get their tunes recorded. Sort of like buying gasoline to get to work. You don’t want it, but you need it so you can afford groceries.

It took only one album for Nelson to shed his “pretty skin”, sacking all the other members of the band and replacing them with what would be known as their classic line up. For the band’s second album “Futurama”, Producer Roy Thomas Baker (of Queen fame) was enlisted to twiddle the control room knobs. The result was one of the greatest records of 1975, if not the entire decade. Only problem was, with no gimmicks or visuals for the record company to glom onto, the LP did not sell and was poorly promoted, at least in the United States.

In the Rough guide to Rock Peter Buckley described the album as:
"Top-heavy with massed guitars and melodic ideas pursued on a whim and just as quickly abandoned, it nevertheless contained two of the most perfect pop singles never to make the charts — “Maid In Heaven” and “Sister Seagull."
While Piero Scaruffi only mentions the band for half of one sentence in the whole book A History of Rock Music: 1951-2000 his words sum up Bill Nelson’s style and the new bands performance:
"..., and Bill Nelson's Be-Bop Deluxe predated New Wave by fusing Hendrix's guitar neurosis and Eno's electronic paranoia, particularly on Futurama (1975).

Despite the dissappointing sales, enough positive buzz surrounded the band to allow a third release, 1976’s “Sunburst Finish”. The record would finally yield a breakthrough on the UK singles charts with the reggae tinged “Ships In The Night”, which made it as high as #23. Although Be-Bop would never dent the singles charts in America, their records were finally starting to make inroads on the progressive FM rock stations of the day.

1977 would bring the band more moderate success with the release of “Modern Music”, arguably their most consistent artistic statement. Some tireless touring as opening acts in the United States and elsewhere provided enough material to release a live record that continued their slow yet steady momentum in sales and airplay.

Bill Nelson was not the type of artist that would stagnate and 1978’s “Drastic Plastic” was a quantum leap forward from previous records in regards to song styles and melodic structures. Songs like “Electrical Language” and “Surreal Estate” leaned more towards electronics and less toward conventional instruments. Radio programmers were dumbfounded, the record never gained significant airplay or sales, and the band broke up shortly afterwards.

While Bill would move on to other musical projects and still creates to this day, he essentially walked away from all commercial aspects of the music industry. Upon laying Be Bop Deluxe to rest, he remains comfortable in the knowledge that stardom was simply something that never suited him. “The glamourousness and the packaging…that’s what the industry uses to sell the product….That’s something I’ve always found to be a difficult thing to swallow….and I felt uncomfortable being a part of that. It’s meaningless, totally meaningless and it has nothing whatsoever to do with creating the music…which is often a very personal and intense experience done in private…away from the public gaze. No, I don’t miss it at all.”

When Elvis Was King- The "Trust" Sessions

Very often when I get my hands on demos or rehearsal takes of songs, they outshine the finished versions that the artist ultimately releases. Nowhere is this more apparent than when listening to the sessions for Elvis Costello’s 1981 release, “Trust”.

Other than a couple of instances, most of these tracks are similar to what appeared on the record. However, when they are stripped bare of the reverb effects and vocal overdubs that adorned the finished product, small nuances and counterpoint melodies rise up from within. Steve Nieve’s keyboards and Bruce Thomas’s bass lines are no longer buried under the gloss and sheen, which makes for a thrilling listening experience hearing their contributions so “up front” in the mix.

There are other surprises. Early attempts at “Watch Your Step” are presented in a much faster tempo and in a different key than what would eventually be settled on. Costello’s “close whispering” vocal that adorns the finished version is nowhere to be found. The rehearsal take here more closely resembles “Chelsea” or even “Lipstick Vogue” with the lyrics shouted out in an attempt to cut through the chainsaw rhythm track. As we all know, “Watch Your Step” would eventually be totally re-worked into something completely different. I would compare this early version to watching a baby being born. A little messy, but brilliant never the less.

An early run through of “New Lace Sleeves” is presented here as a mid-tempo track, reminiscent of say, Dylan’s “Basement Tapes”. This work in progress is once again,far removed from the finished product with it’s tight snare drum/ high hat combo and nervous plucking of that single guitar string we’re so familiar with.

Upon listening to some early takes of “Clubland” , you can hear Steve Nieve adding keyboard flourishes more often than what would eventually appear on the master. Therefore, one could safely assume that a conscious decision was made to save these riffs for specific moments within the song, ultimately adding to the tension and suspense so apparent on the LP version.

Those of us who have heard both “Big Sister’s Clothes” and the much faster “Big Sister” that appeared on the “Out Of Our Idiot” compilation LP have some point of reference when examining Costello’s creative process. Specifically, how he and his band could seemingly at will bash out alternate versions on the fly, picking and choosing the best bits as they occurred spontaneously in the studio. So it’s not all too surprising to hear yet a third version of this song that again sounds like a very early rehearsal. This one has more of a country/ western feel, but still up tempo enough so that one could envision a cowboy doing rope tricks with the track playing in the background.

In addition to these crude early tapes, alternate takes of the basic tracks feature only the lead vocal without the harmony parts and the reverb/echo that Elvis and his producer, Nick Lowe would add later on. An integral part of his overall sound particularly back then, it’s hard to say that one would actually prefer hearing these versions without Costello harmonizing with himself, since he does it so effectively. But after hearing “White Knuckles” , You’ll Never Be A Man” and these other tracks without them, the performances of the other three members of the band become more apparent. Paired up against that one single vocal track, the efforts of Nieve, Thomas and Thomas shine brightly here and are ultimately more thrilling than ever before.

Costello’s official assessment of the “Trust” album describe it as his most drug-influenced record. Specifically, he admits to a diet of hard cider, gin and tonic, various powders (probably not corn starch), Johnnie Walker Black, and the pharmaceutical drug Seconal, a barbiturate derived sedative. This cocktail of inspiration, while not recommended does however lend some credence to the theory that drugs may aid towards the execution of the creative process.

Either way, “Trust” represents the pinnacle of Costello’s songwriting talents as well as the versatility and arranging prowess of The Attractions. While “Imperial Bedroom” garners many of these same kudos and “Get Happy” gets the overall nod from other factions of Elvis fans, it is here on this record where we are treated to the most consistent balance between future experimentation and the immediate punch of his earliest works.

Click the "Play" button to hear an early rehearsal of "Watch Your Step" from the "Trust" sessions.

Howard Kaylan is my Facebook friend.

This morning on the way to work, my Ipod battery gave out. Seems the newer ones don’t charge automatically by simply being attached to the car radio like the older ones did.

Digging around for CD’s to satisfy my music fix, I happened upon a homemade burn of the third and fourth LP’s by Flo and Eddie. I know these records are great and way under appreciated by the mass populous, but today for some reason that fact hit home more than usual. So as soon as I got to work, I opened up Facebook, and wrote on my “friend” Howard Kaylan’s wall (aka “Eddie”) to tell him personally of my fondness for these records.

It never used to be this way. As music fans we have unprecedented access to our heroes via social media. Plus the more obscure the artist, the more likely it will be that you’ve actually made contact with the genuine article.

This morning I got to read and engage in actual conversation with Peter Holsapple (of dB’s fame) in regards to Christina Aguilera’s butchering of the National Anthem this past Sunday. We agree that it isn’t just the fact that she botched the words, but it is also equal parts annoying that she insists on treating it like an audition. By trying to make it a showcase for her vocal talents instead of just SINGING THE SONG, she mangled the tune to the point where it was unrecognizable. A far worse sin than just forgetting a few lyrics.

Now keep in mind that I’m the type of music fan that would much rather shake the hand of the artist and say “thank you for the music” rather than get an autograph. So this type of unprecedented access in fact makes me uncomfortable on many levels. I am always overly considerate to the point where I would just as soon say nothing for fear of making the other person feel obligated to interact with me. Crazy, right? Maybe it’s just my introverted nature, but I don’t want to come across as some kind of smarmy borderline stalker. Which is exactly the kind of character trait social media thrives on to perpetuate itself.

So like a great guitar solo, I pick and choose my spots carefully. I try and be as brief and effective as possible, saying my piece concisely and then shutting the hell up. What can I say, it works for me. More often than not I get a response which inevitably freezes me in my tracks. Do I respond back? Should I just click “like”? Why did I even bother? Am I creeping out Howard Kaylan by stating out of a clear blue sky that “Moving Targets” is a wickedly great record?

I’m also friends with Todd Rundgren’s wife, Faye Hunter from Let’s Active, Stan Ridgway from Wall Of Voodoo, and many others. I read their posts and listen to their links, bathing in their limelight that they have so selflessly chosen to share with me. Always careful not to overstay my welcome or do too much chirping for fear of being perceived as a creep. This way, it’s better for everybody.