Josh Rouse -- "Winter in the Hamptons" (2005)

Insightful singer/songwriters who play acoustic guitar don't get very far in the US, unfortunately. You'll get played on college stations, but since airplay is totally controlled by public corporations, that would be about it. However, go to Europe and the undiscovered gold from here gets dug up and treasured. It's no secret that the UK music magazine Uncut is passionate about their "Americana."

Maybe that's why when after a handful of albums and a marriage down the tubes, Josh Rouse gave up his adopted city of Nashville and moved to Spain. His Rykodisc album, 1972, was a paean to the golden era of soft rock, and the critics clamored over this breakthrough record to no avail. He decided to pack it up and head across the pond, but before he did, he recorded his farewell to the old life with producer Brad Jones and released Nashville.

You may think you're in for some heartland country music, but no. The name of the game is folk-rock with nods to 70's soul and pop and no sappy stuff either. The standout cut is "Winter In The Hamptons," which is one of those songs you wish would go on for longer than its 3:06, perhaps with another solo because the chord progression is so damned juicy.

Nicking a little from the Police's "Message in A Bottle" guitar pattern, this is a folk/rock pop gem that just glides fast and carefree, with the absolutely killer hooks and singalongs. From experience, I can tell you that winter in the Hamptons is quiet, beautiful and possibly truly dull. It's like the rich and famous are out of town, so it's a remote still life with limited things to do in the cold weather. Rouse uses that vibe as a metaphor for nothing left to lose but flying away to the new life in Spain.

Here we go
Singin' our songs with our soul
Winter has gone
Where do we belong
We have stayed too long.

Friday night
So uptight we get stoned
Sit in the Hamptons
It is too cold
We have stayed too long.

Spring is finally here
And we're so well dressed
It's a talent and it's our style
So put on your hat
Because the forecast is rain clouds.

Never know
American scene's such a bore
Embarassing
Still, we are hangin' on
We have stayed too long.

And we'll fly
Take a gypsy to Eurosize
Our money is gone
Where do we belong
We have stayed too long.

Sick of livin' here
It's such a mess
'Cause the government they're all liars
So put on your hat
Because the forecast is rain clouds.


As you'll see from the videos below, it's the opening a capella singalong "ba da da da dahhh" that sticks right in your head from the start and clearly gets live audiences singing along. Rouse has been in Spain a few years, so YouTube is full of Rouse concert videos from all over that country, and man, do they love that guy. There are a couple from two years ago with stops in LA and Brookyln that are just as enthusiastic, so it's heartening to see there is still strong support here too.

The first video is a very well-done purposefully grainy production for "Winter in the Hamptons" followed by Rouse and his crew singing the song in the middle of the daytime at the Plaza del Trigo in Arana de Duero in Spain from this past August! I hope you fall in love with this song as much as I have.

Todd Rundgren -- "Parallel Lines" (1989) and "Not Tonight" with The New Cars (2004)

Back in college, the zaftig music editor of the school paper used to sneer "Todd is God." She may have had something there, although I wish it wouldn't have come from her.

Rundgren's life as a pop and rock music chameleon and jack of all trades never seems to get its proper due. He probably could have cruised for years cranking out surefire little pop ditties like "Hello It's Me" and "I Saw The Light." But then he'd make a complete left turn and do something nuts like his album Faithful, which was like his musical version of Gus Van Sant's shot-by-shot remake of "Psycho," except he did note for note copies of the Beach Boys "Good Vibrations" and The Beatles' "Rain." Or his 20-minute electronic drone excursion that occupied the entire second side of 1981's Healing.

Let's not forget Todd the maniacal producer, who made commercial gold out of Grand Funk Railroad, Meat Loaf, Patti Smith, The Psychedelic Furs, Cheap Trick, The Tubes, XTC and others. That's a whole other blog entry.

After wandering off the beaten track commercially for much of the 80's, Rundgren pulled another one of his outstanding pop gems out of a hat when he assembled a huge set of musicians and singers in the studio and cut the Nearly Human album live. Always introspective, soulful and taking an unvarnished look at the human condition, Rundgren melded amazing hooks with his vocal arrangement mastery to tackle singular obsession ("The Want of a Nail"), child abuse ("Unloved Children") and the mind games between lovers (the exuberant "The Waiting Game").

The production was quite grand, rivaling the one on Bat Out of Hell, but certainly more impressive that it was all done live in studio. Unfortunately, the CD mastering was aggressively compressed, which flattens the dynamics of the many instruments and vocals used in the album.

Coming in my final months at Radio City Music Hall, I finagled tickets to see Rundgren and the whole original band on his album tour stop at The Ritz venue. The place was packed, the Todd is God groupies were out, and they blew the roof off with a horn section, an extended group of musicians and background singers.

However, one special song stands out from that record, from a forgotten theater project Rundgren that came and went when Nearly Human came out -- a musical version of playwright Joe Orton's never-used Beatles movie script "Up Against It." "Parallel Lines" is is a searing sad mid-tempo ballad about how certain relationships are never meant to happen, given a layered pop treatment on the album. I particular love the fact that each of the verses' last lines is completed in the choruses.

Kindred spirits moving along the spiral
I can see you up on another level
It's too great a fall
And I can't reach you to pull me higher
But I don't seem to get much closer or any more far
What would you tell me, if I could hear you speaking?
If you could touch me, how would I know the feeling?
I just can't imagine
But I try to do it anyway
I wish I was moving faster, I wish you'd drift back
But it just wasn't meant to happen
Very soon I'll have to...

Face the fact
Some things never come together
Parallel lines running on forever
And you can't turn back
There is never any starting over
Parallel lines never do cross over

From this classic personal project, Rundgren had no problems doing what may be called "crass sell out" gigs, something that almost seemed antithetical to his usual anti-corporate banter. Yes, he did the Ringo Starr & His All-Stars Tour, but even more fascinating was jumping into the Ric Ocasek role when some of the remaining Cars reunited to record and tour to cash in on New Wave nostalgia in 2007.

I thought it was musical heresy when guitarist Elliot Easton and keyboardist Greg Hawkes hooked up with Rundgren to record a couple of Cars-clone songs and then tour as The New Cars. Rundgren recruited his old Utopia mates Kasim Sulton and Prairie Prince to join on what was an obvious way to pocket some easy cash. Original Cars bassist Benjamin Orr had passed away, and both drummer David Robinson and Ocasek wanted nothing to do with the deal.

You have to admire Rundgren for taking some of that Faithful magic and writing a song that sounded remarkably like an Ocasek number and even produced like one, almost a loving parody. The drone-ish clipped vocals, sarcastic, obtuse lyrics -- all there.

Below are two very different version of "Parallel Lines" -- the first is a stripped-down slow and moving rendition from the TV show "Night Music," followed by the tour band performing the album arrangement live in Japan. And then The New Cars, on "The Late Late Show With Craig Ferguson."

New Order -- "60 MPH" (2001)

Isn't it crazy that this was the first New Order album I bought, after they put out like a dozen, right? It was one of those stars aligning kind of things because I bought it without hearing one song, but somehow I felt compelled to buy this one after reading reviews in the UK music magazines and I just felt I had to. Wouldn't the record industry love for me to have this urge more often?

I always loved some of New Order's classic singles like "True Faith," "Bizarre Love Triangle" and "Love Vigilantes," so I knew they program some terrific beats, shoved Peter Hook's electric bass front and center, and layer plenty of simple synth lines.

I call Get Ready "the album where New Order discovered electric guitar" because I had never heard them so prominently on any earlier album. Overdriven chords and arpeggios all over the place, and they fit in perfectly with their dance-driven music.

The one song that caught me immediately and I still can't get enough of is "60 MPH." If I could have sequenced this album, this would have been the lead track and first single. It has an actual intro of a solo analog chord waving through a filter sweep, attacked out of nowhere by the biggest, fattest guitar hook on the entire record, the drum machine practically flying off the beat.

This is the best, and maybe the only driving song New Order ever recorded. It speeds along so off the handle with a relentlessly unforgettable singalong chorus, that it really is made for loud accompaniment on the road.

I don't know if I told you,
But I'm seeking sanctuary.
You'd never guess the things that I do,
I've had the devil around for tea.

Don't you know that I'm here beside you?
Can't you see that I can't relax?
When I saw you in my rear view,
You could have stopped me in my tracks.

I'll be there for you when you want me to.
I'll stand by your side like I always do.
In the dead of night it'll be alright.
Because I'll be there for you when you want me to.

You could take me to an island.
Ride across a stormy sea.
We could worship pagan idols.
There together you and me.
Why don't you run over here and rescue me?
You could drive down in your car.
Why don't we both take a ride and turn that key,
We'll drive at sixty miles an hour.

I'll be there for you when you want me to
I'll stand by your side like I always do
In the dead of night it'll be alright
Because I'll be there for you when you want me to.


Tonight, I was playing the song with my son in the car and noticed that the relatively simple guitar solo (a rare New Order occurance) was also filtered from the beginning, starting sort of muffled and echo-ey and then sharp and high by the end. You don't know how many times I wish that the solo was a real cranked-up distorted frenzy because the chords are the perfect kind to solo over. But less is more with New Order -- not only is the solo cool and sedate, but all the other breaks are walls of synth chords, different from the ones used throughout the song, basically taking the whole thing to lift-off!

So here are two videos of this song made for the car: the official video, which of course features lots of cool driving shots cut with a dorky guy in a bear suit (!)... and then the band souping up the song live on Jool Holland's "Later" TV show. Man, what a performance. It's a good thing they discovered their electric guitars for this record because it makes a song like this even more exciting live . What I would give to see them reunite in concert here if it's anything like this segment.

The Thorns -- "Runaway Feeling" (2003)

After writing about the British supergroup Electronic recently (Bernard Sumner and Johnny Marr with the Pet Shop Boys), here's an American supergroup of a much quieter nature, but no less powerful.

The Thorns were completely molded in the spirit of Crosby, Still & Nash, three brilliant individual talents with the emphasis on three-part harmonies on all the vocals and lots of acoustic instruments that combined together truly worked.

However, unlike CSN, where the members were on their way "up," the Thorns were three guys who'd pretty much been around for substantial, even long, amounts of time, had one Top 40 hit between them (not that that matters), and somehow found the time to do an album that was anything but surefire.

The Thorns consisted of power pop maestro Matthew Sweet, gritty singer/songwriter Shawn Mullins ("Lullaby"), and Pete Droge, whom I had never heard of. But anything Sweet is involved with gets my attention. They were joined by Atlanta-based producer Brendan O'Brien, who produced a couple of early Sweet albums and recently did the last two Bruce Springsteen records.

O'Brien seems to have taken an active role in the proceedings, producing a pristine throwback acoustic rock and folk record where you never hear any one singer solo, but always all three at the same time. In an unlikely move, the major label Columbia Records picked it up for distribution.

"Runaway Feeling," the album's lead track, is all bouncing major key guitars and mandolins, a perfect upbeat summer pop track. In 2003, nothing like this would have a snowball's chance in hell of being a hit, but who cares? This is just a great song, almost from another more progressive era, done in a style that you'd need to dig up on an indie label if you knew about it.

Somehow, I hope these three find the time to record another treat of an album.

Since this album's release, I saw Shawn Mullins perform at the Pleasantville Music Festival in summer 2007. If all you knew him by was that one-off megahit "Lullaby," like I did, you've got to try and catch him perform live. He's a husky fellow who writes some really powerful songs and does it all solo.

Below is the band performing "Runaway Feeling" live on the German TV show Rockpalast.

The Dictators -- "Who Will Save Rock and Roll?" (2001)

Kudos to Little Steven's Underground Garage channel on Sirius Satellite Radio to get me into New York City's other proto punk group many, many years after they first arrived on the scene.

I don't know why I never got into the Dictators. Probably like everybody else in the 70's, the record company botched promoting them, they weren't played on the radio and for some reason, nobody else had the decency to turn me on to them.

Yet, the Dictators put out their first studio album in decades in 2001 and Little Steven had the superior taste to put some of the tunes on the playlist. Even if you never heard any of their previous Epic and Elektra albums from their heyday, and I hardly knew them myself, the DFFD album was a blazing rock and roll statement that basically ignored if any other style of music ever existed.

Primal yet well-recorded, loud, and funn,y The Dictators broke everything down to its basics. Not just with their instrumental makeup -- your basic guitars, bass and drums -- and no synths or keyboards. The subject matter: the rawness and beauty of rock and roll conquers all.

The first song I heard from the album on Little Steven was "Savage Beat," an ode to the "primitive sound" packed with brilliant Flintstones references. Soon enough, it was life down on "Avenue A" and the catch-phrase happy "What's Up With That?"

Yet, the album's... and the Dictators'... statement of purpose opened up the whole escapade with "Who Will Save Rock and Roll?" The overdriven guitar notes lovingly ripping-off The Clash's cover version of "Police On My Back," lead singer Handsome Dick Manitoba sounds like an angry thug on the warpath, wailing on about the loss of the greatness of the music he loves.

I fall to my knees
and look to the sky.
Who will save rock and roll?

Murray The K, is not here today.
so who will save rock and roll?

Every protest singer.
every guitar slinger.
every punk rock sinner sells his soul.

My generation is not the salvation
so who will save rock and roll?

I saw The Stooges, covered with bruises
who will save rock and roll?

Every mercenary
Three chord revolutionaries.
Choose your side and choose it well.

June 1st, '67... something died and went to heaven.
I wish Sgt Pepper
never taught the band to play.

My generation
is not the salvation.
so who will save,
who will save...
tell me who will save
rock and...... roll!?

We've all had favorite guitar players, but a listen through "Who Will Save Rock and Roll" and the rest of DFFD record convinced me that the band's Ross The Boss (yes!) can swing that high gain axe through the Marshalls about as good as anybody. You begin to sympathize with that opening anthem because how often do you hear an album full of amazing raw rock and roll like this one in this day and age?

I found out over the next several years that some of these songs were re-recordings from earlier band and solo albums, including "Who Will Save Rock and Roll?" I had to go back and check out the early Dictators albums, such as their Epic debut from 1975, The Dictators Go Girl Crazy!! when Handsome Dick had a colossal afro and they were known for their irreverent cover of the Riveras' "California Sun" and whacked out punk classic "Cars and Girls."

It was only tonight that I finally found out that DFFD stood for Dictators Forever Forever Dictators. Here they are in 1999 in Detroit, raising the roof.

Graham Coxon - "Spectacular" and "Freakin' Out" (2005)

Recently, I had the pleasure of reacquainting myself with Graham Coxon's album by throwing it into my car's CD player and blasting it away.

Then by sheer coincidence, I was reading an interview with British guitar band producer Stephen Street (The Smiths, Blur, Kaiser Chiefs, The Cranberries) in Tape Op magazine this week and he spoke at length about producing Coxon, adding he thought Coxon was the best guitarist he'd ever worked with, even Johnny Marr.

Coxon is probably the most unassuming guitar god out there because he doesn't fit the mold. No long waving hair, extended solos, covers of Guitar World, and posters hung up in boys' bedrooms. He just plays like a monster and listening to Happiness in Magazines is definitive proof.

Coxon was famous Britpop band Blur's longtime guitarist until he split during the band's 2003 recording of Think Tank. He looks like a huskier version of Elvis Costello, hornshell glasses and all, wearing a stylish tie and jacket. His early solo albums passed under the radar, but producer Street changed that all dramatically when they collaborated on the terrific Happiness In Magazines.

Not to be confused with Britpop except in its melodic catchiness, the album was an assortment of mid-tempo English bloke tales of dating, working and being forced to grow up. Coxon was clearly more driven by the Kinks, pop and punk, with a little sci-fi corn thrown in, none of it Blur connected.

Sharpening his songwriting and clearly working on his quite English vocals, Coxon came flying out of the box with "Spectacular," an under-three-minute charging ode to falling in love with a girl on the Internet, perhaps on a porn site? Riffs are pouring down everywhere, tom toms pounding the verses, and Coxon bursting into short wild solos after each insane chorus.

Saw you in my computer,
Never seen no one cuter,
Posing with a shooter,
You got me in a stupor.

You... are... something quite spec-tac-u-lar!


A mere five songs later, out he emerges again blasting with "Freakin' Out," moving so fast that you can feel the chaos of his life spinning out of control, tongue planted in cheek. Coxon goes even more nuts on this one, the delays on his vocals just adding to the effect. He knows how to make a good "pushing the car past the speed limit" song, and just rolls those raw riffs and solos off like a madman.


Filling the space between my ears,
Why don't you all just disappear.
With all your friends just way too dear.
You are foaming at the mouth,
You are mad without a doubt,
Cos I'm really freakin' out!

And I'm going out of my mind,
TV got me going blind,
And I'm really freakin' out!


These two songs seemed like cool musical bookmarks, so I'm featuring them both. First, here's the "Spectacular" video, with Coxon on what looks like a Rickenbacker 360, much like the one I own. "Freakin' Out" is all classic Gibson SG's, the famed "horn" shaped guitar, shooting from the gate like the frantic opening of The Ramones' "I Wanna Be Sedated."

Nobody Does It Better: The James Bond Theme Songs From Best to Worst

AS HEARD ON NPR'S "ALL THINGS CONSIDERED"

With "Quantum of Solace" opening this weekend, this is a timely opportunity to evaluate all the James Bond theme songs from best to worst.

Performing the title song to a James Bond movie used to be a musician's badge of honor, and many of them became hits. However, starting with the film "License to Kill" in 1989, not only did the hits dry up, the songs almost uniformly stunk. Yes, the opening credit visuals that accompanied them were still stunning and the movies they went with were almost always excellent. But that musical badge of honor didn't mean anything if they didn't deliver the goods.

The James Bond franchise is very special, but certainly one of the main contributing elements has been the music. Never has there ever been such a long series of films so closely aligned with the style and output of one composer, the brilliant John Barry. The producers lucked out with the English jazz trumpeter and orchestrator, who had such an individual style, emphasizing big brass stabs, swinging jazzy chops, and a penchant for blending major and minor chords for stark effect over three decades.

Most of Barry's theme songs (which he co-wrote with different lyricists) were either big sassy numbers like "Goldfinger" and "Thunderball" that became stylistically dated as the 70's rolled on, or straight-ahead pop ballads like "You Only Live Twice" and "We Have All The Time In The World." He collaborated with rock artists on two theme songs, imparting his signature brass hits on "A View To A Kill" and "The Living Daylights," although the Pretenders did two very cool numbers on the latter soundtrack, which flew under everybody's radar. Three of Barry's theme songs were sung by histrionic Welsh belter Shirley Bassey: "Goldfinger," "Diamonds Are Forever" and "Moonraker." Most Bond title songs have never "rocked."

Barry pioneered the use of signature themes in all his Bond scores, long before John Williams did the same for all the Star Wars and Indiana Jones flicks. The surf guitar of "The James Bond Theme" is as instantly recognizable as the Coke logo. That minor chord pattern in the same theme was dipped into a number of his future scores and songs, and ripped off blatantly for the guitar lick in Johnny Rivers' "Secret Agent Man."

Three times during the Sean Connery/Roger Moore/Timothy Dalton era, the Bond assignment went to different composers and two of those title songs were smashes too. Famous producer George Martin scored "Live and Let Die" so it was inevitable that Paul McCartney did those opening honors, while Bill Conti (best known for the "Rocky" theme) did "For Your Eyes Only." When they hired 80's hitmakers Narada Michael Walden, Jeffrey Cohen and Walter Afanasieff for the "License To Kill" theme song, it understandably bombed along with its pedestrian Michael Kamen score, beginning a still-standing dearth of title song hits.

What makes a good James Bond song, as opposed to just any other song? It has to be seductive, with the sort of "spy"-type arrangements and chords that acid jazz musicians have appreciated for years. Some bombast falling just short of annoying. Lyrically containing those existential "live" and "die" themes that preoccupy the movie titles themselves. Honoring the John Barry tradition of jazzy horn stabs would be admirable.

I've heard the Alicia Keys/Jack White duet "Another Way To Die" from the new film. It has a few of the Bond song trademarks -- darting horns, deep mysterious piano notes, and the word "die" in the title. However, there's a lot of semi-rapping and shouting, not much melody at all, and it takes over 40 seconds to get started. I'll take a pass on this one, unfortunately.

People are always arguing over and listing their favorite James Bond movie, actors, villains and stunts. But I don't recall a ranking of those nearly two dozen theme songs, so here's my totally opinionated evaluation, from worst to best, with links to each title sequence.

20. "Die Another Day" performed by Madonna: A plum assignment handed to the globally famous musical chameleon and she blew it big time. Released the year before her inferior "American Life" album, Madonna foresakes the memorable dance beats of her "Ray of Light" hit for jagged samples and a forgotten thrown together mess. So much for banking on what the producers were hoping would be a sure thing. Totally ridiculous S&M inquisition video too.



19. "License To Kill" performed by Gladys Knight: Sampling the horn hook from "Goldfinger" (and paying the original composers the royalties too), the songwriting team behind 80's Whitney Houston, Mariah Carey, Aretha Franklin and Starship hits forces poor Motown great Glady Knight to grumble in a low register and spend a lot of time groaning "Uh-huh" and "license to kill!"





18. "The Man With The Golden Gun" performed by Lulu: The corniest title song ever composed by John Barry matched this equally silly film. Sample awful lyric: "His eye may be on you or me/Who will he bang?/We shall see!" Somebody dragged obscure English 60's pop sonstress Lulu out of the mothballs in 1974 to sing this one. Not worthy of John Barry stature by any means. The Alice Cooper song of the same name was far better.



17. "The World Is Not Enough" performed by Garbage: Current Bond score composer David Arnold has yet to create a good title song to this day. Trying to turn Garbage lead singer Shirley Manson into a chantreuse was a huge mistake and this sounds nothing like the crunchy grungy rock of Garbage. This is a very ordinary song, far from the standards of what a Bond title tune should be.



16. "Tomorrow Never Dies" performed by Sheryl Crow: One would have hoped this could have been a rocking Bond theme song with Crow in place, much like what I anticipated from Garbage. Instead, Crow rolls out an unmelodic swaying ballad which just comes and goes with no notice, much like "The World Is Not Enough."




15. "Moonraker" performed by Shirley Bassey: Coming on the heels of Carly Simon's enormous 70's contemporary pop hit of "Nobody Does It Better," pulling Bassey out for one last glitzy over the top rendition felt like the franchise took one step backwards. While the song was bonafide John Barry, with those delicately placed strings and his trademark major-minor chord transitions, it was not one of his best and too Las Vegas-y to make it up the charts.

14. "You Know My Name" performed by Chris Cornell: Finally getting close to the mark, new Bond score composer David Arnold joined forces with great rock baritone Cornell for something that sounds, well, James Bond-ish. Charging distorted guitars, rising strings, a pounding sense of desperation, and a real rock song melody. Appropriate that it appears in the film series' recent return to old school form.



13. "For Your Eyes Only" performed by Sheena Easton: Notable for being the only Bond title song where the artist actually appeared in the opening credits, "For Your Eyes Only" was a nice smooth pop ballad with a good hook and a babe on the vocals. Very synthetic and perfect production values.



12. "Goldeneye" performed by Tina Turner: Many surprises here. Turner was made for singing a Bond title song and it's a revelation that it took until 17 movies for somebody to come up with that idea. Give all the credit to writers U2's Bono and The Edge, along with urban producer Nellee Hooper, who created all the earmarks of danger and mystery: finger snaps, a bursting brass riff, a choppy rimshot-driven drum loop, and low pizaccato strings evolving to the romantic undertones that had been missing for so long.



11. "All Time High" performed by Rita Coolidge: Thankfully not using the title "Octopussy" anywhere in it, Barry swung for the adult contemporary radio format fences and got himself a huge hit. You know it's Barry by the giveaway string arrangements. This was Coolidge's last chart-topper, as it came at the end of a run of successful soft rock covers ("We're All Alone" and "Higher and Higher").



10. "Diamonds Are Forever" performed by Shirley Bassey: For Sean Connery's last Bond venture, Barry put a little more swing into Bassey's bellowing ("Diamonds are forever, forever, forever"), some blatant sexual innuendo ("Hold one up and then caress it/Touch it, stroke it and undress it"), a dose of guitar wah wah, and plenty of seductiveness.




9. "Live and Let Die" performed by Paul McCartney & Wings: A truly bizarre song for the Bond genre, employing McCartney's tried-and-true "three songs in one" gimmick (see: "Band On The Run," "Uncle Albert/Admiral Halsey"). The lyrics are utter nonsense, and there's much ado going on with big orchestra runs with chase scene riffs, with that dramatic unexpected minor chord ending.


8. "Nobody Does It Better" performed by Carly Simon: A perfect 70's hitmaking machine behind this huge pop hit -- composer Marvin Hamlisch and lyricist Carole Bayer Sager, cranking out a fluffy concoction that transcended the Bond movie into a popular catch phrase of the era.







7. "From Russia With Love" performed by Matt Munro: There's something truly Rat Pack-ish about this song, as you can almost picture Sinatra belting this one out in a nightclub. With Lionel Bart's dashing playboy lyrics ("From Russia with love/I fly to you/Much wiser since my goodbye to you/I've travelled the world to learn/I must return/From Russia with love") and the Slavic tack piano effects, this was the series' "Strangers In The Night."




6. "A View To A Kill" performed by Duran Duran: This is the first Bond song that actually "rocked" and did it very successfully. The New Wave stars collaborated with Barry on a horn-hit filled 80's-styled danceable rock tune with those immortal words: "Dance into the fire/The fatal kiss is all we need!" Crunching heavily-compressed power guitar chords and funky little Strat licks, those immortal Bond minor chords simmering underneath, Duran Duran and Barry's joint venture still sounds well today, especially to 80's nostalgia fiends.


5. "On Her Majesty's Secret Service" performed by The John Barry Orchestra: The title theme of a movie full of "only's" -- the only film to star George Lazenby as James Bond, the only film directed by renowned editor Peter Hunt, and the only film to have an instrumental title sequence. If you thought the James Bond theme itself was wicked, this came in a very close second. Oozing cool, Barry's composition sounds like the best action chase music from the late 60's, building horns, changing keys, and a fuzzy harpsicord-sounding Moog synthesizer running down the twisting baseline.


4. "Thunderball" performed by Tom Jones: The Welsh singing god of the 60's rips his shirt open once more in this bombastic ode to the man who "runs while others walk." Surrounded by a maximum horn riff as beguiling as the one Barry created for "Goldfinger," I can always picture the silhouetted female scuba divers from this film's credit sequence. You've got to hand it to Mr. Jones when he used every ounce of air in his lungs when he explodes with that last "Thun-der-bal-l-l-l!"


3. "The Living Daylights" performed by a-ha: I have great love for this song which went nowhere in the US but of course was a huge European hit. The Norweigian synth pop group collaborated with Barry, like Duran Duran, and produced the sleeper of the whole bunch. As I wrote back on this blog in December 2007: "a truly compelling title song, with tricky key changes, wide open production, a veritable mix of dark Europop and John Barry snazz... Heavily treated electric guitars, hard acoustic guitar strums at emphatic parts, galloping drums with suddenly building snares, twinkling synths, a distorted sax solo, and the falsettos and harmonies of the group itself. John Barry comes in loud and clear with his trademark brassy blasts during the intro and the chorus. Listen for the in-time horseshoes when the song settles in about halfway through before that dirty sax solo."


2. "Goldfinger" performed by Shirley Bassey: The flagship Bond song -- huge, pompous, and mysterious. The blueprint for all future lyricists assigned to focus on a villian as their subject. Parodied and worshipped, Barry's masterwork came in the third Bond film, where he was allowed to step out for the score from beginning to end. Where did he come up those chords for the words "Goldfinger" -- an F major leading to a D flat? Hats off to lyricists Anthony Newley and Lesley Bricusse for coming up with the phrase that he had such a "cold finger." My God.



1. "You Only Live Twice" performed by Nancy Sinatra: This movie and song had a profound effect on me in 1967, as it was the first Bond film I saw in a theater, in this case, the Green Acres Theater in Valley Stream, Long Island. The combination of Sean Connery machine gunning around in that flying Little Nellie, bodies flying through the air from explosions inside the empty volcano crater, exotic Japanese women, and spaceships eating other spaceships was mesmerizing. But that song -- Nancy Sinatra's sexy voice mysteriously floating through the classic Barry melody, with those endless major/minor chord switches, the downward cascading strings, and the Asian influenced xylophone notes, accompanying the literal explosions of chrysanthemum color of the Maurice Binder-designed credits. I never get tired of this song and I knew I was justified when I heard Coldplay perform it live on the b-side of a CD single I bought in the UK several years ago.


SPECIAL MENTIONS

Although these songs were not the "title" theme songs, they were prominently featured on the soundtracks and I consider them very worthy and prime additions to the Bond genre.

• "We Have All The Time In The World" performed by Louis Armstrong: The very last performance from the great jazz trumpeter, the song has great simplicity and poignancy that reflects the ironic jarring ending of "On Her Majesty's Secret Service." Armstrong enunciates every syllable delicately while Barry's swirling strings hit you right in the gut.

• "Where Has Everybody Gone?" and "If There Was A Man" performed by The Pretenders: These are two treats on soundtrack of "The Living Daylights," true collaborations between Chrissy Hynde and John Barry. The former is a snarling Bond-ish rocker with mocking open trumpets and switchblade guitar work, while the latter is one of the most beautiful ballads ever to appear in a 007 movie.
  

The Soundtrack Of Our Lives -- "Sister Surround" (2001)

Never underestimate the Swedes when it comes to their ability to take classic rock and roll, and spit it back out to us in an even better form.

With The Hives leading the buzz with short maniacal garage rock a year earlier, TSOOL also took a hyped-up route to US shores, but pilfering different rock and roll. Instead of two or three minute grungy blasts, they were mixing up the melodic psychedelia and thrashing rhythm chords Their Satanic Majesties Request/Let It Bleed/Sticky Fingers-era Rolling Stones.

I admit it, I bought the hype and purchased their first US album which was generating all the talk, Behind The Music, without having heard one note from it. The Amazon.com raves sold me. Luckily, I was not disappointed. I liked the album so much that I tracked down the two albums and EP's that were released in Europe before it.

There's always a lot of talk about groups sound like "classic rock," but that genre has such a far and wide meaning, that it's hard to pinpoint what that is. When Coldplay upped the success ante with A Rush Of Blood To The Head in 2002, they were described as having a "classic rock sound" to me. If that meant the band performed fully realized memorable songs with guitars, keyboards, drums and distinct lead vocals, then I'd say these were the many attributes that were missing from FM radio who were wrapped up with hip hop, rap, and highly-produced modern teen bubblegum. A hipper group of music lovers in their 20's, 30's and 40's who didn't identify with Top 40 radio gravitated to the blatant and creative rock of The White Stripes, The Hives, The Vines, Coldplay, and Radiohead.

Like The Hives, having a basic four piece band wouldn't do for TSOOL. You needed at least two or three guitarists to do the job! And why just stand there when you can be flamboyant and crazy. TSOOL operated at the tempos of all the good rock and roll you know from the 70's, charging with spaced out echoes, throbbing beats, layered riffs in your face, stacked Marshalls, and yes, you could definitely dance to it.

"Sister Surround" reminds me a lot of The Dandy Warhols' "Bohemian Like You" with its "Gimme Shelter" style guitars. The Rickenbacker bass anchors those riffs on one deep gun barrel note in the verses, the drums snapping away in straightahead 4/4 time.

Remember in the film "Wayne's World" when everybody is shaking their head in time to Queen's "Bohemian Rhaphsody?" "Sister Surround" is a definite head shaker. Band leader, vocalist and songwriter Ebbot Lundberg -- a burly bearded character easy to spot on the album cover -- is not a screamer but a real singer, much in the vein as your classic rock Lou Gramm (Foreigner) or Steve Perry (Journey). On this song, a lot of his vocals are EQ'ed on both ends to create a variation of the "telephone effect." Lundberg sounds nothing like those guys or even like Mick Jagger, but he's a natural for this genre.

However, another certified Rolling Stones touch: chorus background vocals of "doo doo doo doo doo doo" -- even the Stones named "Heartbreaker" after those syllables.

When you listen to "Sister Surround," and you realize it's just seven years old, you know you are listening to something you really don't hear much of anymore -- the kind of "classic rock" song you may have heard 30 years ago, catchy as hell and makes you want to get out and dance. It's no wonder that the video below takes place in what seems to be a high school gym. A few band members seem to have gone to the Swedish School for Rock Performance Overacting, which the Hives definitely attended if you've seen their lunacy. Watch the rhythm guitarist calmly windmill his Gibson SG like Pete Townshend while the other guitarist close his eyes in deep nirvana.

The Dandy Warhols -- "Bohemian Like You" (2000)

Every year, my San Francisco-based friend Ken would create a tape (later CD) of tunes he wanted to turn me on to. Some years ago, he included the Dandy Warhols' "Bohemian Like You," and boy, did that sound great. Little did I know that Ken was a nut for this band and urged me to download the whole album it came from, Thirteen Tales From Urban Bohemia.

The Dandy's never seemed to make a consistent album -- each one had a small handful of terrific singles, surrounded by substandard stuff. They clearly were obsessed by the Velvet Underground and 60's British Invasion and garage rock, and had no problem "nicking" little bits of well-known classics.

For example, the first song on Thirteen Tales, "Godless," bore a remarkable resemblance to the the sweeping minor-major opening guitar chords of George Harrison's "My Sweet Lord." Still, their dirty-ed up guitars, Farfisa organ lines, vocal drones and rowdy choruses were made for blasting out from speakers and singing along, beer in hand, dancing with your friends.

In the past several years, you'd be hard pressed to find a rock band that somehow created a perfect pop single as this one. The Dandy Warhols had some great songs, but this will always be their certified "hit." Starting with a rumbling eight-bar jungle tom beat and an organ starting to pour in, it explodes into "Gimme Shelter"-like riffs of blended electric and acoustic guitars, smashing drums, and a gripping distorted wah-wah lick. The hyperkinetic bounce of this song made it a popular license for movies and TV ads, notably a Vodophone ad which aired throughout Europe after its release.

"Bohemian Like You" absolutely exudes cool, band mastermind Courtney Taylor-Taylor affecting a quasi-British accent on his vocals, and lots of "Woah-ho-woo!" (and there aren't enough of those in rock songs anymore, let me tell you). With the Dandy's, there is always some kind of artificial attitude, posing, drugs, casual sex, and even condescension. "Bohemian Like You" put it all in one great catchy package.

You've got a great car,
Yeah, what's wrong with it today?
I used to have one too,
Maybe you'll come and have a look.
I really love your hairdo, yeah,
I'm glad you like my do,
See what looking pretty cool will get ya.

So what do you do?
Oh yeah, I wait tables too.
No, I haven't heard your band,
Cause you guys are pretty new.
But if you dig on vegan food,
Well, come over to my work,
I'll have them cook you something that you'll really love.

Cause I like you,
Yeah, I like you,
And I'm feelin so bohemian like you,
Yeah, I like you,
Yeah, I like you,
And I feel whoa ho woo!

Wait.
Who's that guy,
Just hanging at your pad.
He's looking kinda blah,
Yeah, you broke up, that's too bad.
I guess it's fair if he always pays the rent,
And he doesn't get bent about sleeping on the couch when I'm there,

Cause I like you,
Yeah I like you,
And I'm feeling so bohemian like you.
Yeah I like you,
Yeah I like you,
And I feel woah-ho-woo!

I'm getting wise,
And I'm feeling so bohemian like you,
It's you that I want so please,
Just a causal, casual easy thing.
It isn't? It is for me.
And I like you,
Yeah I like you,
And I like you, I like you, I like you, I like you, I like you, I like you
I like you.
And I feel woah-ho-woo!
Woah-ho-woo.


The "Bohemian Like You" video is as much a trip as the song, as grungy as those guitars. Conceived and directed by Taylor-Taylor (no wonder why these guys worked with Duran Duran with their double names), there are two versions -- one with nudity and one without. Lots of tattoos, burning cigarettes, and skinny, funky, hairy people!

Dandy Warhols Bohemian Like You
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