Tag: Popular Culture

I apologize for being absent last week.  I had a nasty cold and started on this very piece but just did not have the energy to finish it.

I am still doing background on the series about Jethro Tull, but and not ready to start writing the piece yet.  They were much more complicated insofar as the band lineup goes than most of the bands about which I have written, so it is taking some time.

Tonight we are going to look at who I consider to be the greatest rock and roll bass player who ever drew breath, Thunderfingers, aka The Ox.  But he was much more than a great bass player.  He was outstanding on brass instruments, and much of the early work by The Who has a lot of French horn in it.

He was also an accomplished songwriter and singer, and many of his songs were performed by The Who.  Songwriting is much more lucrative than merely performing, so he was always to get more of his songs on records.

I am not quite ready to start another long series about music just yet, but probably will begin next week.  Due to popular request, Jethro Tull will be the focus when we do get started on that.  I promised something lighter than last week, so here are a few random thoughts about my likes and dislikes in popular culture, past and present.

First of all, today is Friday the 13th.  I am not superstitious, but many folks are.  Not as many as in the past, but still many are.  Interestingly, friggatriskaidekaphobia is of quite recent origin, not being much noticed until late in the 19th century.  Reasons to be afraid of this combination of date and day are quite nonscientific.

Friday has been considered an unlucky day for a long time.  The reasons for this are unclear, but Chaucer mentioned it in the 14th century.  Twelve has always been considered a “good” number (we still use dozens, have twelve hours for each half of the day, and many other examples) and 13 is thus imperfect, and a prime number as well.  One popular idea is that because of Judas, 13 (including Christ) at a table is bad luck.  A similar idea also appears in Norse mythology.  Actually, the numbers 2 and 8 have a more scientific basis for being “good”, since they describe the number of electrons required to acquire the noble gas configuration in the elements.  In any event, I consider any Friday the 13th just another day.

I am not ready to start a new, long series about music just yet, so tonight we shall discuss the hate filled, venom spitting American Family Association (AFA).  This is one of the most conservative, evangelical groups that exists and qualifies as being termed a hate group by the Southern Poverty Law Center.

I go back a very long time with the AFA.  When I lived in Arkansas, their radio stations were everywhere (as they are now) and they had also started a website, afa.net.  They also run a radical news organization, onenewsnow.com (ONN).  It is interesting that this could be pronounced either “one news now”, or “one new snow”.  I like the latter better because their “articles” are a big snow job for the most part.  It is ironic that ONN is also the acronym for Onion News Network, and their stories are often more realistic that the AFA ones are.  I commented on some of their news articles and drew the wrath of the son of the founder.  I wish I still had the emails that he sent me; they were mean spirited and nasty.

Before we get very far into this, let me make my philosophy clear.  I am not a believer in any religion, but I am not one of those “evangelical atheists” who want to make it difficult for believers.  I just do not think that public funds should be expended to promote any religion, regardless of what the particular religion is.  Likewise, I do not think that public funds should be expended to suppress any religion.  I am a live and let live sort of person, unless someone threatens me or my loved ones.  The AFA, in my estimate, threatens all of us who do not agree with them.

We shall finish this rather long series with some live material from the canonical work of The Moody Blues.  My aim is to present some of my personal favorites, recorded during the period that they were contemporaneous at the time that they were released.

There is a really nice set of videos on YouTube about the Isle of Wight festival in 1970, but they do not fit into the format for this series because they were excerpted from a documentary about the festival and have lots of talk and not much music.  They are worth checking out, but this in not the venue.  When you do, check out the first on when they have some cameras on the back of the sound system.  Notice that many of those Hiwatt amps are labeled “WHO”, and a few are labeled “TULL”.  Yes, they also played there.  What a concert!

Last time we discussed the peak and decline of The Moody Blues and in particular the studio part of the album Caught Live + 5.  I was going to stop with their studio material at that point, but several readers asked me to complete the Mark II band by including the music and my critique of Octave, Mark II’s eighth studio album.

For details about the production, release, and artwork on this record, please use the link just provided.  I think that you can already tell that I am not wild about this record, but it does have its moments.

I do find it to be exceedingly weak in comparison with their canonical material, and the passing of the Mellotron and Chamberlin leaves it without the signature, hauntingly beautiful sound of The Moody Blues.  Another thing that really bothers me is that they had a studio musician to sit in, and to me that is the antithesis to the canonical albums.  His name was R. A. Martin, and he played the exceedingly annoying saxophone parts and some less annoying horns.  In any event, we should just jump into the music.

Last time we discussed Seventh Sojourn, considered by many to the finest album made by the band.  Tonight we shall examine the time after that record.

After Seventh Sojourn was released, The Moody Blues were the top record selling band at the time, and had reached their zenith.  Their success brought a huge world tour.  As a matter of fact, the tour, although broken up into a couple of legs commenced in October 1972, in the US (with at least 13 dates played in late 1972).  They then took a break until the European leg started in September 1973, playing at least 33 dates (some were back in the US).  They played another 12 at least sets in Japan, Hawaii, and California in January and February of 1974.  

Last time whe discussed Every Good Boy Deserves Favour, and this time we shall discuss Seventh Sojourn, which is the last of what I term the “canonical” Moody Blues albums.  I say this because there were some major changes after the record which we discuss, and their sound was never quite the same.

Many people consider this to be their finest record, and I do not intend to argue with them.  Although my personal favorite is still In Search of the Lost Chord, Seventh Sojourn is certainly a wonderful work.  I have an hypothesis about what that is so, and shall share it with you in a bit.

Once again Tony Clarke produced the record and Phil Travers provided the cover art.  It was a gatefold album, in accordance with the deal that Threshold Records had with Decca because of the expense of the cover format.  I also have an hypothesis about why they insisted on that format.

Last time we discussed A Question of Balance, and tonight we discuss their next album.  Released on 19710723, Every Good Boy Deserves Favour was the seventh album by The Moody Blues, and the sixth one with the Edge, Hayward, Lodge, Pinder, and Thomas lineup.  As we shall see next time, by then they had pretty much determined that the original lineup were really quite a different band than the one that was created when Hayward and Lodge joined.

Although not my favorite album by them, it has some really high parts (punintentional).  It charted at #1 in the UK and at #2 in the US, not a trivial accomplishment considering the great music of the period.  Once again Tony Clarke produced it and Phil Travers supplied the cover art for the record.

The album is unusual in several respects.  First of all, the title itself, according to Wikipedia, is a mnemonic memory aide for the treble clef:  E, G, B, D, F.  Secondly, the cut “Emily’s Song” was written by Lodge for his new daughter.  Finally, it is contains the only work written by all five band members.

Last week we discussed To Our Children’s Children’s Children, and this week we shall listen to the next record, A Question of Balance.  I personally like this album very much, second only to In Search of the Lost Chord.

No band members were changed, the same five performing since the second album, this one being their sixth.  Tony Clarke produced, just as he had since the second album.  This album has on it one of their high charting singles, “Question”, and is just marvelous.  Many of the songs from this album became staples for live performances.  Phil Travers once again provided the cover art.  It is their second record on Threshold Records.

Last week we discussed On the Threshold of a Dream, and this week the next album by The Moody Blues, To our Children’s Children’s Children.

The band were the same lineup as from their second record, and after being released on 19691121 charted at #2 in the UK and at #14 the next year in the US.  This is really a very nice album, although not my favorite Moodies one.

This album follows the trend that The Moody Blues were an album rather than a singles band because the only single from it failed to chart.  We discussed this last week and came to the conclusion that the ideas that they were expressing were simply too complex for one or two songs.