only laughing in the sun. from smilesawakeu on 8tracks Radio.

17 GIFs That WILL Make You Fall In Love With Peter Tork

I know I'm still new at this whole blog thing, but I think you all should know before I go any further that I LOVE Peter Tork. Like, ADORE him. I know there have been talks of him being an asshole recently, but he's been through a lot in his 74 years, and I love him nevertheless. So, in honor of his birthday today, here are a few GIFs I found mostly on Tumblr and Pinterest (I do not take credit for ANY of these) to help express my Peter obsession to you. Enjoy, and please go check out the blogs that made these!!!

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Buffalo Springfield, "Buffalo Springfield" (1966) Track-By-Track Album Review

I just want to preface this by saying: I love Stephen Stills. I really do. It won't seem like it in this review, because Holy Christ above, did my beloved Stephen have a little bit of developing left to do at the time of this album's release. It's crazy that only a year later, he would be cranking out three of my favorite songs of all time ("Bluebird", "Everydays", and "Rock and Roll Woman"), and would continue to crank out amazing songs for several years after. We won't talk about his Yacht-Rock phase yet...that's another sad post for another sad day. At least there's no Richie Furay songs on this one.

Anyway, when this album is talked about on music review sites, the word "mediocre" is brought up quite a bit. Most people agree that it's not as disjointed as Last Time Around, but it's certainly not the masterpiece that Buffalo Springfield Again is. I agree with both of those statements, but I still think this album is generally underrated, because there's some really solid material on here that no one gets around to talking about. The truth is, the album is only dragged down by a few weaker tracks. 

I should put out there that I'm reviewing the version of the album with "For What It's Worth", and without the dreadful "Baby, Don't Scold Me", a Stephen composition featured on the original pressing of the album. Just that one little change improves the album drastically, trust me. So, let's get down to it...

A1. "For What It's Worth" (Written by Stephen Stills)

This is the song most people know from the album, and there's good reason for it. It's considered an anthem for the Vietnam era: "Nobody's right/if everybody's wrong", "Paranoia strikes deep", etc. Oh, and that chorus. Stephen probably blesses the day he wrote that shit, because it's easily one the catchiest chorus to ever surface from his pen, or anyone's really. In fact, most people don't know the real name of this song, but as soon as they hear "Stop children/what's that sound?/Everybody look what's going down!", almost anyone is capable of joining in. The production is generally minimal, which I think works to the track's benefit. As you all know, I'm a sucker for tasteful backing vocals, and the "oohs" that come in during the "What a field day" verse are spot on. Same for Richie's harmonies on the last verse. 4.5/5

A2. "Go and Say Goodbye" (Stills)

A solid, catchy, country pop song. Nothing more, nothing less. 4/5

A3. "Sit Down, I Think I Love You" (Stills)

Again, a nice, inoffensive country-esque track written by Mr. Stills. While I don't dislike this, I can see why the mediocre label comes when we get to this point in the album. Not bad, but not groundbreaking. 3.5/5

A4. "Nowadays Clancy Can't Even Sing" (Neil Young)

Here is where things get remarkable. Neil Young has got to be in my top five songwriters ever, and I continually come back to this song, knowing it will always be one of my favorites. If you haven't figured out by now, I like weird stuff. This song is certainly not average, and less radio-friendly than basically everything else on the album. There's something about the grab-bag lyrics, wonderful melody, and time signature changes that get me every time. As little as I care for most of Mr. Furay's A.M. radio-worthy songwriting, he does have a very smooth, easy voice that crunches wonderfully against Stephen's soulful voice, and later, crunches even more against Neil's. I've been trying to remember the first time I ever heard this masterpiece, and the details are fuzzy, but I do remember that the second I heard, "Who's all hung up on that happiness thing?", I was sold. 5/5

A5. "Hot Dusty Roads" (Stills)

There are some cringeworthy lyrics here, but the chord changes are nice. More kind of chill, undistinguished country pop from Mr. Stills. 3/5

A6. "Everybody's Wrong" (Stills)

Again, this song contains some absolutely terrible lyrics: "Listen to my song/It isn't very long," is the first of these. Jesus Christ. Aside from that, this track is slightly more interesting musically than any of Stephen's other material on the album so far. It grows on you quite a bit the more you listen to it. That doesn't mean I'm forgiving him for the first lyric though.... 4/5

B1. "Flying on the Ground is Wrong" (Young)

What a way to open the second side. This is easily my second favorite song here, only after "Clancy". Richie takes on vocal duties again, and he does a good job, though I prefer Neil's vocals on his acoustic renditions of the song. Either way, this intro is gorgeous, the subtle backing vocals are wonderful, the lyrics ache without being too in-your-face about it. "If I'm bright enough to see you/You're just too dark to care." How beautiful is that? Neil is almost incapable of disappointing me. 5/5

B2. "Burned" (Young)

Two Neil songs in a row on this album? Finally! He actually sings on this one too, and does a good job. The call-and-response backing vocals were also a wonderful touch. Maybe the reason I like Neil's songs so much more on this album specifically is that Neil's songs have more of a pop inflection than a country one, like Stephen's do here. The more I listen to this, the more I feel like it could've been a Motown hit if a proper arrangement was put together. 4.5/5

B3. "Do I Have To Come Right Out and Say It?" (Young)

Wow, we're three for three on the B-side songs here. This song echoes "Flying" a little bit, and is almost as good. It's missing that special something, but it's lovely nonetheless. Richie's vocals sound great, the falsetto backing vocals are good, and the bridge tugs at the heartstrings for a reason I couldn't explain. 4.5/5

B4. "Leave" (Stills)

Oh, Stephen. Why do you do this to me? I'm trying so hard to cut you some slack here, but if this doesn't sound like something knocked off in the studio just to finish the album, then I don't know what does. I mean, I guess the guitar here is cool, but nothing else stands out to me. 2.5/5

B5. "Out Of My Mind" (Young)

How many pop songs do you know about epileptic seizures? I only know this one. Neil's vocals here are absolutely gorgeous, the guitar sound is interesting, there's some nice fuzz effect going on, the backing vocals are lovely. As a singer, I also love the way Neil cuts off at the end, clearly sounding the "d" in "mind". Chorus teachers everywhere should be proud. 4.5/5

B6. "Pay the Price" (Stills)

I was hoping Stephen would really step up to the plate here to close out the album, but alas, his genius wasn't meant to strike again until the next album. I've listened to this song quite a few times, and it's still unmemorable every time I hear it. What a shame. 2/5

47/60 = 78.3%

Final Grade: C+ 

(Neil's songs get an A....)

Thanks for reading!! Comment what I should review next!!

18 Underrated Pre-"Beggars Banquet" Rolling Stones Songs

(via blogs.cardenalcisneros.es)

It's generally common belief that the albums made by The Stones between 1968  and 1972 (Beggars Banquet, Let it Bleed, Sticky Fingers, and Exile on Main St.) are the best albums they ever released to the public. Now, I'm not here to diminish that opinion. In fact, if you asked me my favorite Stones album, I'd probably tell you Beggars Banquet, and my second favorite, Sticky Fingers. However, try asking someone what their favorite early Stones song is. "Satisfaction" will probably be the most popular answer, then maybe "Paint It Black", or "Under My Thumb", or even "Ruby Tuesday". There are definitely plenty of choices as far as hits go regarding those early years, but what about those songs that didn't become the hits? What about the songs that just barely made it onto Hot Rocks or some other greatest hits compilation after doing somewhat well on the charts in the 60s and have since been shoved aside for their more popular counterparts? What about the B-sides? What about album cuts that haven't seen the face of classic rock radio in years? You don't hear about them much anymore, and I feel like some of that may be the Stones' own doing. I mean, if they play "Tell Me" instead of "Brown Sugar" or their latest comeback record, what would the fans say?

None of this is to demean the Stones or their wide and ranging fanbase. The purpose is to bring these overlooked and forgotten tracks back into the playlists of Stones fans everywhere. Some of these songs aren't necessarily overlooked, in fact...maybe just underplayed. Perhaps you'll find your new favorite Stones song along the way. Thanks for reading!

(Note: The songs are all listed in a roughly chronological order, not necessarily by my opinion of the song.)

"Tell Me" (1964)
One of the Stones' earliest singles, this one will always have a soft-spot in my heart. It's easily one of their most carefully crafted pop songs, grabbing inspiration from their blues idols while also creating a Beatles-like catchiness to it all, complete with a sing-along chorus and everything. The reason for my fondness of this one is probably the scene from Charlie is My Darling where Keith begins to play it on his acoustic while in the band's hotel room, and Mick begins to sing along while then-manager Andrew Loog Oldham keeps the beat on his lap. Keith and Mick both giggle their way through the number, obviously still giddy from having lampooned The Beatles a few seconds earlier, but there's something heart-warming about the whole moment: two boys fresh from their skyrocket to fame, with a guitar and a voice in a hotel room. Little did they know, right?

"Congratulations" (1964)
Initially finding its way onto the B-side of "Time is On My Side", this one is especially overlooked; you certainly won't be hearing it on any radio station, even the most wide-ranging of classic rock channels. It's a mid-tempo, bluesy shuffle with some interesting guitar riffs, but what really makes it for me are the biting lyrics that would serve as a precursor to the signature Jagger-Richards bitch-slap lines that we're so familiar with now. This was "Under My Thumb" in the making, people. Cherish it.

"Play With Fire" (1965)

This is one of the more well-known songs on this list, as it was released as the B-side to "The Last Time", and is known to be a personal favorite of Mick Jagger's. The guitar sound is similar to that of "Congratulations", but the mood is quite different; the instruments used include only Keith Richards on acoustic, Phil Spector (Yes, that Phil Spector) on a tuned down guitar to act as a bass, Jack Nitzsche (Yes, that Jack Nitzsche) on those spine-tingling harpsichord lines, and Mick playing some echo-heavy tambourine. The  result, with yet another killer lyric and phenomenal vocal performance from Mr. Jagger, is nothing short of spectacular, and even haunting. I get chills every time.

"The Spider and The Fly" (1965)

At first, you might be suspicious about why I love this song so much, because The Stones recorded a lot of songs that kind of sounded like this early in their career, but it's not even the music that makes this one; this time around, it's all down to Mick's spot-on vocals. There are almost too many favorite moments to list here: the way he drawls, "My, my, my, don't tell lies", the little laugh he gives at the end of the second verse, basically his entire delivery of the third verse...I could go on and on, but maybe you should just listen and experience the magic instead.

"She Said Yeah" (1965)

Only The Stones could take a piano-heavy, laid-back R&B number and turn it into a proto-punk masterpiece, filled with so much energy, you feel like the song itself could explode any second. From beginning to end, it's a mad dash to the finish line, and even when the last winding guitar note is played, you feel like they still have energy to keep going. 

"Hitch Hike" (1965)

Here's yet another instance of the Stones taking a contemporary R&B song (this time, it's the legendary Marvin Gaye they're pinching from) and replacing horns with guitars to create a completely different sound to the track. It was only recently that I rediscovered this song, but I do remember listening to it often in elementary school. After I got into the Velvet Underground, every time I heard the intro to "There She Goes Again" (a great song in its own right), I would think, "Where have I heard this intro before?" The answer is here. I will admit, I have to commend Lou Reed for having such great taste when it came to what he stole. This version certainly equals the original, if not improves upon it.

"Heart of Stone" (1965)

I kind of wrote this song off for a while, always kind of hearing it, and never really listening to it. Upon listening to it for the first time in a long time recently, I noticed so many little things that sort of make it great instead of just good: the hesitant little "oohs" that come in the middle of the first and third verse, Mick's strong vocal delivery, the charming fact that the tambourine is completely and unashamedly off-beat, and the wonderful guitar parts, reportedly played by Keith. I honestly think my favorite part of the song starts with the second verse, with Mick singing spot-on, "What's different about her?/I don't really know/No matter how I try/I just can't make her cry", followed by a muffled "Mmph!", then soaring into Keith's amazing solo. It's quite magical, really.

"Doncha Bother Me" (1966)

Slide guitar by Brian. Falsetto by Mick in the chorus. The freaking harmonica solo. Need I say more?

"Think" (1966)

Ah, yes, Aftermath. Between "Under My Thumb", "Stupid Girl", and "Mother's Little Helper", this album certainly cemented The Stones' reputation as the "anti" band. One of the things the Stones were most "anti" about was love, and that certainly is evident on this track. Musically, this song is especially interesting, with all the guitar weaving, inclusion of fuzz guitar that almost sounds like a horn, and a notably solid bass line. A hidden gem, indeed.

"Out of Time" (1966)

This actually might be one of my favorite songs on this list, because I really do feel it deserves to be much more popular than it is, though over time, the popularity seems to have grown. It's another "put the stupid society girl down" song, but done in such an elegant way, complete with marimbas and all. Unlike the marimbas in "Under My Thumb", which sound a bit creepy and ominous in the context of the song, the marimba line here sounds almost jubilant, juxtaposing the dark, dismissive nature of this tune, and I love it. Same thing with the sing-along quality of the chorus; you'd think they were singing "Kumbaya" with the enthusiasm and even joy in the vocals. It's so infectious, you can't help but yell out "Baby, baby, baby/You're out of ti-i-i-me!" every time it comes along.

"I Am Waiting" (1966)

This one is mostly known for being on the soundtrack for Rushmore, which I love, and I suggest you all go watch. There's an almost wistful feeling about this song, from the tentative gentleness of the intro to Mick and Keith's beautiful harmonies, to the drums finally coming in during the bridge, creating a desperate feeling that wasn't present before, only to disappear seconds later. Another small touch I love: near the end when Mick and Keith sing "Oh, we're waiting", and then one of them echoes it with a "-ting!" It happens twice, and then it's gone. It's interesting to me what a difference those little changes can make.

"Who's Driving Your Plane?" (1966)

This was the B-side to one of my favorite Stones singles, "Have You Seen Your Mother Baby, Standing in the Shadow?", and unlike that song, I will admit that this song is a shameless rip-off of golden era Bob Dylan ("Leopard-Skin Pillbox Hat", anybody?), which isn't a bad thing. The piano and harmonica are great, the lyrics are solid, and Mick completely sells it with his vocal delivery. If you haven't noticed already, I love Mick's falsetto, so the third "plaaaane" in the chorus is obviously a highlight for me.

"My Obsession" (1967)

It's my belief that Between the Buttons is the most underrated Stones album, absolutely filled with hidden gems (I included five songs from it on this list, which should say something about it). This is supposedly Brian Wilson's favorite Stones song, as he was in the studio when they recorded it, and believed it would be the groundwork for the "future of rock music". As someone who values Brian Wilson's genius over almost everything, it shocks me that this song has been tossed aside over time. I can see why he thought it was revolutionary, because it's actually quite strange, when you get down to it. It has a definite R&B groove, with a nice touch of boogie-woogie piano, but the constant starts and stops and restarts and shifts make it much more of a product of the experimental year of 1967 than anything else. Also, the bass and tuned-down electric guitars on this track are absolutely killer.

"Back Street Girl" (1967)

God, what a beautiful song...degrading the "Other Woman" in an affair, in true Stones fashion. The guitars and percussion that open the song are beautiful, and Brian Jones adds a little bit of child-like whimsy, starting in the verses, with some ethereal-sounding vibraphone. Mick's vocals mimic the instruments, almost whispering the lyrics during the verses with the vibraphone, and growing in strength and volume as the harpsichord and accordion are added in the chorus. The whole concoction sounds wonderfully archaic. I've figured out that one of the Stones' greatest talents is making terrible statements sound beautiful. How many artists do you know that could make the line, "Please, don't you bother my wife/That way, you won't get no help", sound almost prayer-like?

"All Sold Out" (1967)

A biting rocker that features some of Mick's most vicious vocals he ever committed to tape. The way he almost yells out, "I've never seen/a mind so tangled/A GIRL SO STRANGLED!" should be enough to prove that to you. The guitars completely let loose here, creating some absolutely insane licks throughout the track. Other fun details include the hey-heys that sound a little bit like "Island in the Sun" (and predate it by, like, almost 40 years), and the hilariously 60s-sounding flute in the chorus.

"Who's Been Sleeping Here?" (1967)

This Goldilocks-inspired tale can also be traced back to Dylan's influence, but I feel like they make this one their own, once again, mostly due to Mick's absolutely biting vocal. I'm gonna go back and count how many times I bring up Mick sounding bitchy on a song when I'm done writing this, but this song and "All Sold Out" probably take the cake. I mean, listen to the way he growls the line "You must be JOK-ING", in only the first twenty seconds of the song. Despite its viciousness, there are very few Stones songs that are as fun as this song; listen to the playfulness in Mick's voice when he taunts, "Was it your mommy?/Your daddy?" over Keith's searing electric guitar during the closing. If you're going to rip from a fairy tale, you might as well have fun with it.

"Complicated" (1967)

Whenever I play BTB, I always find myself getting up and dancing to this song. There's really nothing overly complicated about the song itself (unlike the song's subject), but there's something about the combination of the pounding piano riff, the fuzz guitar, the grooving bass line, and the crashing cymbals throughout the verses that make you want to at least nod your head to the beat, if not flail around like a dead fish, like I do. 

"Child of the Moon" (1968)

I feel like not many people know about this song because by the time it was released as the B-side to "Jumping' Jack Flash", The Stones were through with their little psychedelic experiment that was Satanic Majesties, and wanted to bury this song and the project as if the whole thing never happened. I mean, besides "She's a Rainbow", have the Stones ever played another song from that album again? This track is certainly as good as "Rainbow", and should be just as popular, really. Maybe TSMR would've been better received and easier to swallow for listeners, then and now, if this little gem had been included on the album instead of, perhaps, "Sing This All Together (See What Happens)"? C'est la vie.

Style Muse: Cher

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Okay, so while I'm working on writing things up relating to music and movies and all that other good stuff, I figured I'd start with posting something where pictures do my talking for me. So, my first kind of "post series" thing I'm starting will be called Style Muse, and I'll generally give background and pictures of a specific person from the 60s/70s who changed the way I think about fashion or inspires my daily personal style.

My first fashion icon I've chosen to do in this series is American singer and actress, Cherilyn Sarkisian, better known as Cher.

With Sonny Bono, Twiggy, and Justin de Villeneuve in 1967 (via the60sfashion.com)

Cher was born in 1946, and originally got her start in 1965 as half of the husband-wife folk rock duo, Sonny & Cher, and since then, has become one of the most well-known figures in pop culture.

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Sonny & Cher scored their biggest hit, "I Got You Babe" in 1965, and they became largely known for bringing new, hip, 60s style that was becoming popular with the younger generation into the mainstream.

I mean, look at that fur vest.

I'm gonna low-key steal a little bit from Wikipedia here to emphasize her effect on the fashion industry better than I could in my own words:

Cher emerged as a fashion trendsetter in the 1960s, popularizing "hippie fashion with bell-bottoms, bandanas, and Cherokee-inspired tunics". She began working as a model in 1967 for photographer Richard Avedon after then-Vogue editor Diana Vreeland discovered her at a party for Jacqueline Kennedy that year.

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(At the 1974 Met Gala, via V Magazine)

In 1972, after she was featured on the annual "Best Dressed Women" lists, Mackie stated: "There hasn't been a girl like Cher since [Marlene] Dietrich and [Greta] Garbo. She's a high-fashion star who appeals to people of all ages."

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In May 1999, after the Council of Fashion Designers of America recognized Cher with an award for her influence in fashion, Robin Givhan of Los Angeles Times called her a "fashion visionary" for "striking just the right note of contemporary wretched excess". Givhan referenced Tom Ford, Anna Sui and Dolce & Gabbana as "[i]nfluential designers [who] have evoked her name as a source of inspiration and guidance." She concluded that "Cher's Native American showgirl sexpot persona now seems to epitomize the fashion industry's rush to celebrate ethnicity, adornment and sex appeal."

Thanks, Wikipedia.

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Bow down to the queen, guys.

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