"There's a time in life for Hoagy Carmichael. There's a time in life for Claude Debussy. There's a time in life for Jerry Lee Lewis. There's a time in life for Destiny's Child. All these things have their moment." ~Elvis Costello
The question again was: What bands can you name who at some point shortened their band name?
Denise named Chicago, who of course were called Chicago Transit Authority, till legal action was threatened I believe. Great answer and one that I hadn’t thought of.
Mike got Small Faces (Faces) which was one of the ones I had in mind.
Dave chimes in with The Pink Floyd Sound. That guy’s an overachiever.
Karen contributed Jefferson Starship (Starship) which crossed another off my list.
If you’re a Byrds fan, you probably haven’t missed it. But if you’re “younger than yesterday” and your knowledge of 60’s pop has been mostly been radio-dependent, there’s a good chance you haven’t come across this one.
Fact is, as important and influential as the Byrds were and are, they weren’t a huge singles act, scoring only three top 20 hits total. And when you consider that “Mr. Tambourine Man” was a Dylan song and “Turn! Turn! Turn!” was co-written by Pete Seeger and God, “Have You Seen Her Face” was the second-highest-charting of their own compositions (after “Eight Miles High”). Still, it deserved a better fate than its #74 placing.
Marital infidelity is tragic. But when it happens to great songwriters, it’s damn catchy to listen to.
A decade before Fleetwood Mac’s critically wounded marital relationships spilled blood on the tracks of the classic Rumours album, The Mamas And The Papas similarly spun gold from domestic strife. John Phillips’ “Go Where You Wanna Go” and Lindsey Buckingham’s “Go Your Own Way” are like two sides of the same coin lyrically, as well as the work of two songwriters brave enough to let the world sing along to their State Of The Marriage addresses. But “I Saw Her Again” is where things really get twisted.
As a piece of pop music “I Saw Her Again” (a #5 hit in 1966) is pure brilliance. John Phillips (pictured below looking displeased about being at the wrong end of the tub) was one of very few who could rival what Brian Wilson did in terms of layering vocal parts. Even if you’ve heard this song a thousand times, a fresh listen with special attention to the complexity of the vocal arrangement can be a revelation. Also, as was the case with much 60’s pop, some cool stereo panning effects were used. If you’re able to listen to the song through only the left speaker, then a second time using only the right, you’ll have two totally different listening experiences.
As for the twisted part, the song arose from an affair between Phillips’ wife (and bandmate) Michelle and Denny Doherty, the lead singer of the song–an affair which caused such tensions within the group it even let to Michelle’s temporary expulsion from it. Although Doherty has a co-writing credit on the song, the extent of his input is unclear and may have only been on the musical side. Essentially the song was John’s retribution against Doherty for the affair. One might imagine a tense vibe in the room when the song was recorded, to say nothing of Michelle and Denny’s discomfort at having to sing the song in public every night. It seems John Phillips’s creativity wasn’t limited to the recording studio. “I Saw Her Again” is the best case on record of songwriting as revenge.
Of additional interest is Doherty’s famous false entrance on the last chorus of the song. If you listen just after the 2:14 mark you’ll hear him come in prematurely with the words “I Saw Her…”. Producer Lou Adler, on hearing the playback, loved the way the mistake sounded and left it in. The side-to-side stereo panning of the first and second “I Saw Her” helped make it sound more like an intentional part of the song’s arrangement (more studio genius). But to one discerning listener named Paul McCartney the lyric’s accidental nature was obvious. “No one is that clever”, he’s reported to have said.
Great song. Great arrangement. And a miscue that’s a hook unto itself–a little sonic icing on the cake.
Apparently others artists liked the way it sounded too. Listen to Lovin’ Spoonful’s “Darling Be Home Soon” (1967) for John Sebastian’s little homage to Doherty’s false start:
…and to Kenny Loggins’ less successful attempt at the same kind of thing on his 1980 hit “I’m Alright”:
Oh, and John and Michelle eventually divorced. And now, as Paul Harvey used to say, you know the rest of the story.
If you combine the piano pounding sounds of Ben Folds, melodies reminiscent of Bacharach and Nilsson, and the wacked-out sensibilities of post-Pet Sounds Brian Wilson you begin to close in on the coordinates of Philadelphia-based songwriter Brian Christinzio, a.k.a. BC Camplight.
Hide, Run Away is lyrically dark at times, but wrapped in appealing melodies of the stick-in-your-head variety. On a few tracks the Wilson admirer Christinzio determinedly emulates the sonics and instrumentation of Pet Sounds-era Beach Boys.
Leadoff track “Couldn’t You Tell” is a Bacharach-flavored lounge-y bossa nova (in a good way) that pretty much sets the lyrical tone on the album’s first line:
And if you offer me a second chance/then I would quickly need another
“Emily’s Dead To Me” finds the singer reassuring the object of his affection that another girl is no longer her rival–the phrase and song given a dark twist once it’s revealed he’s talking to that other girl’s mom.
BC Camplight’s follow-up featured the same cheerful melodies, twisted sentiments–and another bizarre album cover.
There was a logic behind Van Halen’s legendary brown M&Ms contract rider, not just egocentric rock star posturing (who, Dave?). I like the way he makes trashing a dressing room sound just like typing a memo. Even better I like the way he works “bosoms” into an explanation of contract riders. I wish more throwbacks like him were still around.
