2020 In Memorium - #4: Millie Small (Born 1947)

Millie Small (1947 - 2020)

One of twelve children born to a sugar plantation overseer in Clarendon, Jamaica, Millicent Dolly May ("Millie") Small's rise to fame began in 1960 when she was twelve years old, with her participation and subsequent victory in the popular and influential Vere Johns Opportunity Knocks Hour talent contest on RJR radio, broadcast nationwide in Jamaica (a show that also launched the careers of Alton Ellis, Desmond Dekker, Laurel Aitken and The Wailers, among many, many other music giants). After her victory, she began working with acclaimed producer Coxsone Dodd, who paired her first with Owen Gray, then with Roy Panton, for a series of well-received Jamaican R&B/"bluebeat" singles. Producer Chris Blackwell, seeing her local success, began envisioning bringing Millie's music to a wider audience, and after stepping in to become her manager and legal guardian, brought her to London in late 1963 for further training in speech and dance in anticipation of an international launch.

Millie's initial recording for Blackwell in England, "Don't You Know", did nothing over there. Searching for a potential hit, Blackwell recalled a record he purchased in the States in 1959, a minor hit in 1956 for an obscure singer, Barbie Gaye, called "My Boy Lollypop".  He changed both the spelling (from "Lollypop" to "Lollipop") and arrangement (from an R&B "shuffle" style to a similar shuffling but modified bluebeat variation called "ska"), and had Millie's version  released in England by March 1964 (not on Island Records, but on Fontana, due to the strain the record would have put on the former record company's resources).  The song was a smash hit, reaching #2 in the UK, US, Canada, Australia and New Zealand, topping the charts in Ireland and selling over six million copies worldwide.  Cconsidered the first commercially successful international ska song, Small's version of "My Boy Lollipop" helped to launch Island Records into mainstream popular music. To this day, it remains one of the best-selling reggae/ska hits of all time.

For a brief moment in time, Millie was the toast of the music world. achieving international fame at the tender age of sixteen.  She appeared frequently on British television during that time, both in musical performances (she was a guest performer on the May 1964 TV special Around The Beatles, and had her own Ready! Steady! Go! special, "Millie In Jamaica" in early 1965) and dramatic performances (she was featured in ITV's Play Of The Week "The Rise and Fall of Nellie Brown", airing during the 1964 holiday season).

In the immediate wake of "My Boy Lollipop", Millie Small followed up with a couple of smaller hits (her next release, "Sweet William", made the UK Top 30 and US Top 40). But her chart presence and attendant fame dwindled very quickly, with her last appearance in the British Top 50 occurring in late 1965, when her song "Bloodshot Eyes" reached #48. Her recording contracts with Island and Fontana ended in 1968. After a brief surge in her exposure in the late Sixties, coinciding with the emergence of reggae music, Small ended her recording career in 1971 and moved to Singapore for a couple of years. She returned to England in 1973, the same time a major compilation of her work was released, then all but fell off the map for several years.

In 1987, a British news service searching for her whereabouts for the past fifteen years discovered that Millie Small was destitute, living in a filthy hostel in London with her toddler daughter. A fund was established for her livelihood, and in that same year came the first of several awards and special recognition to her from the Jamaican government for her pioneering and groundbreaking music career. Millie continued to live in London until this past year, when she died of a stroke there on May 5th at the age of seventy-two.

"My Boy Lollipop" is a great song, a true classic. But to be frank, I seriously doubt that she could have sustained a long-term career... probably because a little bit of Millie Small goes a long way; her high-pitched vocals - described as sounding like "a dentist's drill" or "a chipmunk on helium" - were acceptable enough in small doses, but wearing on listeners over a full album.

But I'll let you determine that for yourself. In commemoration of her life, here's a definitive compilation of all of Millie Small's solo hits, My Boy Lollipop Plus 31 Others, released by Comb A Rama on October 20th, 2011. Have a listen and let me know your thoughts.

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2020 In Memorium - #3: Toots Hibbert (Born 1942)

Frederick "Toots" Hibbert (1942 - 2020)

Back when I was working in the Washington, DC area in the mid/late 2000s, I used to spend a lot of time after work at a bar/coffeehouse called Tryst, in that city's Adams-Morgan neighborhood.  The big, comfortable, rustic old space it occupied was furnished with huge old mismatched tables, sofas and lounges all seemingly scrounged from a garage sale, and local art covered the unevenly painted walls.  Yeah, it was (ant still is) sort of a local

hipster's hangout, a place for people who thought they were cool/bohemian/arty to see and be seen in.  But it has a nice ambience, the staff was great, most of the customers were easy-going, and there was nice coffee and a decent bar/food menu available (one of my favorite drinks there was what they called a Dufrene, which was a pint of Guinness with a shot of espresso poured into it).  Plus, they had free wifi, so if you could find a seat at a table, you could basically sit there all evening, eating, drinking and browsing the Web.

Tryst would host various cultural events from time to time, including art openings, left-leaning political get-togethers and DJ nights - events that I usually tried to avoid, not that I was "anti-" any of that, but since the space required to set up these events would mean less available seating for potential customers, and I generally got there later than most. I hated having to stand around by the wall, strategically positioning myself to commandeer a seating as soon as a current occupant made the slightest indication that he or she was about to vacate.

Anyway, one night in the spring of 2006, they were having another DJ night at Tryst, but this time I had arrived there early enough to place myself at one of the coveted seats/tables. I was sitting there chilling out, with a Greek salad and a Dufrene in front of me, watching Fritz Lang's classic thriller M on my laptop and not really paying much attention to the record spinner, who seemed to be playing a lot of deep house and dub sides... when all of a sudden, one of the cuts he put on caught my attention - THIS one:

Although by that point in life, I was a pretty big ska and reggae fan, somehow I had no awareness of this tune the DJ played that night. I might have heard it before and it hadn't connected, perhaps... but no matter - it DEFINITELY connected that night. Before the song was half over, I rushed to the area in Tryst when the turntables were set up to learn the name of this great song and band.  It was "Funky Kingston", off of the album by the same name, by Toots & The Maytals.

Frederick Hibbert was born in 1942 in Jamaica, the youngest of seven children. His parents were both fundamentalist Seventh Day Adventists preachers, so Hibbert's earliest singing experiences were with church gospel choirs. However, before he turned twelve, both of his parents had died, leaving him an orphan raised by his older brother John, who lived in Kingston in the soon-to-be-famous Trenchtown neighborhood, birthplace and crucible of modern Jamaican music.

There in Trenchtown, with his childhood friends Raleigh Gordon and Jerry Matthias, Toots formed the first version of the Toots & The Maytals trio in 1961, when he was nineteen. The band's early ska/rocksteady songs, such as "Six And Seven Books Of Moses" and "Hallelujah", were rooted in Hibbert's religious upbringing. But the band quickly moved on from those themes and expanded their repertoire. By the mid-60s, Toots & The Maytals were one of the biggest bands in Jamaica, with producers clamoring to work with them and the group producing hit after hit, including "Bam Bam", "54-46 That's My Number" (inspired by Hibbert's 18-month stretch in prison for marijuana possession) and "Do The Reggay", the first song to refer to (and subsequently coin the term) "reggae", the then-new music genre that continues to this day.

 

Toots & The Maytals had released several albums in Jamaica during the 1960s, but by the early '70s they - and reggae music in general - were still relatively unknown in the rest of the world. That international perception began to change in 1972 with the release of the film The Harder They Come, an underground hit in the UK which featured two Maytals songs in the soundtrack. Attempting to strike while the iron was still hot, producer Chris Blackwell hustled the band into Dynamic Sounds Studio in Jamaica, and by the early spring of 1972 had released Funky Kingston, the group's first international album, in Britain and other Commonwealth countries. In 1975, a revised version of Funky Kingston was released in the States, retaining only three songs from the 1972 release and adding six from the Maytals' immediate follow-up album In The Dark, along with the single version of "Pressure Drop" from The Harder They Come soundtrack.

Here's the lineup on the original release:

1. "Sit Right Down" — 4:44
2. "Pomps And Pride" — 4:30
3. "Louie Louie" — 5:46
4. "I Can't Believe"
   
5. "Redemption Song" — 3:26
6. "Daddy's Home" — 5:05
7. "Funky Kingston" — 4:54
8. "It Was Written Down" — 3:04

And here is the track listing on the U.S. release:

1. "Time Tough" — 4:23
2. "In the Dark" — 2:48
3. "Funky Kingston" — 4:54
4. "Love is Gonna Let Me Down" — 3:15
5. "Louie Louie"
6. "Pomps and Pride" — 4:30
7. "Got to Be There" — 3:06
8. "Country Road" — 3:23
9. "Pressure Drop" — 3:46
10. "Sailin' On" — 3:35

Both versions were celebrated, and the album is credited with breaking reggae internationally. The US version is ranked at #380 in Rolling Stone's 2012 list of the 500 Greatest Albums of All Time, and rightfully so.

The original Toots & The Maytals continued on as a unit until the early 1980s before breaking up, with Hibbert having a long subsequent career as a solo artist, collaborator with the likes of Willie Nelson, Gov't Mule, The Red Hot Chili Peppers (among many others), and reviving the Maytals from time to time with new members.  Toots performed right up to the end, with his final appearances in the spring and summer of 2020, just before he took ill.

 

Frederick "Toots" Hibbert died of complications from contracting the COVID-19 virus in a hospital in Mona, Jamaica on September 11th, at the age of seventy-seven.

 

In honor of his life, I present to you both versions of the seminal album Funky Kingston:

• The original version, released on Dragon Records (a subsidiary of Chris Blackwell's Island Records) in April 1972; and
• The U.S. version, released on Mango Records in mid-1975

Enjoy and pay tribute to one of the founding fathers of reggae! And as always, let me know what you think.

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• Funky Kingston (Original 1972 Jamaica/UK Release): Send Email  

• Funky Kingston (Revised 1975 US Release): Send Email

Various Artists - Club Ska '67

OK, OK . . . the people have spoken, and I have heard.

Along with the huge demand for my last post, More Intensified! Volume 2 - Original Ska 1963-67, for the past two days requesters have been clamoring for the other disc I mentioned in that writeup, Club Ska '67. This is one of the original ska compilations, and is even harder to find than More Intensified!; like its brother, it too has been out of print for eons. I recently noticed a CD copy of this one for sale on Amazon . . . for $150. Glad I bought mine when I did!

Club Ska '67 differs somewhat from my previous posting in that it mostly eschews rarities and instead focuses on the classic recordings from that period. And what classics they are - some of the all-time great Jamaican hits are here.  Here's the lineup:

1. Guns Of Navarone - The Skatalites
2. Phoenix City - Roland Al And The Soul Brothers
3. 007 (Shanty Town) - Desmond Dekker
4. Broadway Jungle - The Maytals as The Flames
5. Contact - Roy Richards With Baba Brooks
6. Guns Fever - Baba Brooks
7. Rub Up Push Up - Justin Hines & The Dominoes
8. Dancing Mood - Delroy Wilson
9. Stop Making Love - Gaylads
10. Pied Piper - Rita Marley
11. Lawless Street - The Soul Brothers
12. Skaing West - Sir Lord Comic & His Cowboys
13. Copasetic - The Rulers

It's hard to choose favorites off of this one - EVERY song is outstanding!

Enough of my yip-yap - I heed the call of the masses, and acquiesce. Here, for your listening pleasure, is Club Ska '67, originally released on vinyl in Jamaica by West Indies Records Ltd. in 1967, in Britain on Trojan Records in 1970, and finally re-released on Mango Records (a subsidiary of Island Records) in 1980. Skank on, my brothers, and as always, let me know what you think.

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Various Artists - More Intensified! Volume 2 - Original Ska 1963-1967

I think it was around 1985 when I first heard this album. Someone had given my brother a copy of both this album and Club Ska '67 (another equally outstanding compilation that I was seriously considering posting instead of this one - maybe I'll do that sometime soon (well, that was quick - see the next post)) dubbed onto a long-playing cassette, and he loaned it to me

one day. More Intensified! was the follow-up to Intensified! Original Ska 1962-1966, released in 1979, a year earlier. I had been fully into the whole British ska revival/2 Tone genre of the late '70s/early '80s, but I hadn't had much exposure to the original '60s songs and sources of that movement. To be frank, by the mid-'80s, with the demise of The Specials, The Selecter and The English Beat, and Madness's shift towards the pop mainstream, that initial ska explosion had all but petered out. The next wave of the ska revival, under development in Australia, Japan, several other European countries and in U.S. locations such as Orange County, California (Fishbone, The Untouchables) and New York (Operation Ivy), was still a couple of years away from completely breaking out. So in a way, I was looking for something to fill the ska void . . . and these taped albums worked out nicely.

From the first song on the tape, "Six and Seven Books of Moses", I was hooked. As the album's name implies, all of the songs on this compilation were recorded in Kingston, Jamaica between 1963 and 1967, the heyday of ska in that country. Here's the track listing:

1. Six and Seven Books of Moses - The Maytals as The Vikings
2. Dr. Kildare - The Skatalites
3. Congo War - Lord Brynner & The Sheiks
4. Woman Come - Marguerita
5. Man In The Street - Don Drummond
6. What A Man Doeth - Eric Morriss
7. Lucky Seven - The Skatalites
8. Miss Ska-Culation - Roland Al & The Soul Brothers
9. Dr. Ring-A-Ding - Roland Al & The Soul Brothers
10. Run Joe - Stranger Cole
11. Sucu-Sucu - The Skatelites
12. The Great Wuga Wuga - Sir Lord Comic
13. Dick Tracy - The Skatalites
14. Mount Zion - Desmond Dekker & The Four Aces
15. Marcus Junior - The Soul Brothers
16. Train To Skaville - Ethiopians

While ska was huge in Jamaica and much of the Caribbean, what's remarkable is that it went all but unheard and unnoticed by most of the rest of the world, which was immersed in Beatlemania during that period. Except for brief flashes of recognition (The Beatles included a brief ska bridge in their 1963 song "I Call Your Name"; ska bands played at the 1964 New York World's Fair), ska was for all intents and purposes an underground sound. By the late '60s, it had all but faded away, evolving into the slower, heavier rhythms of reggae. If it weren't for a couple of 1970s Coventry youngsters who grew up hearing this music and decided to try to emulate it - creating the influential 2 Tone sound - ska might have gone the way of calypso, another once-popular tropical genre now almost wholly forgotten.

In any event, I couldn't believe how great these songs were! This disc is full of rarities (like Marguerita's "Woman Come") and classics (such as Don Drummond's "Man In The Street"). Personal favorites include Lord Brynner's "Congo War", a summary of the mid-60s conflict (he even names most of the major players); Stranger Cole's "Run Joe"; and the odd and funny proto-rap of "The Great Wuga Wuga" by the great Sir Lord Comic.

In some cases, they had to dig deep to track down these prime cuts - many of the songs on this compilation were dubbed directly from the vinyl disc, due to the unavailability of the original master recordings.

I taped a copy of this cassette for my own use, and played it to death for years before finding and purchasing this album on CD. This has been out-of-print for decades, but here it is for you to enjoy: More Intensified! Volume 2 - Original Ska 1963-67, released in 1980 on Mango Records, a subsidiary of Island Records. Have a listen and let me know what you think.

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The B-52's - Mesopotamia ("David Byrne Mixes")

“When someone reaches middle age, people he knows begin to get put in charge of things, and knowing what he knows about the people who are being put in charge of things scares the hell out of him.”    

― Calvin Trillin, With All Disrespect

I've been watching the current Senate campaign in nearby Massachusetts (for the seat of former Senator and current Secretary of State John Kerry) with more than my usual bit of interest in all things political. I actually have a personal connection to this contest - I know the Republican candidate, Gabriel Gomez. He was my classmate at the Naval Academy, and in the same company with many of my old Annapolis friends. I can't say that I know him well, but we're familiar enough to recognize and call one another by name in a crowd of people. It's sort of strange, seeing a guy who you knew in your younger days, the same sort of hell-raisin', hard-drinkin', tom-cattin' partier you once were, now presenting himself as a solid citizen and vying for high elective office. Although I can't say that I support his cause or agree with most of his positions, I wish him well in his endeavors.

I don't know how many of you out there are familiar with the works of Calvin Trillin, the writer and humorist, but if you haven't checked him out, I heartily suggest you do. He has a very dry, witty, gentle, self-depreciating sense of humor . I heard him in a radio interview last year, discussing his then-latest book Quite Enough of Calvin Trillin: Forty Years of Funny Stuff (a book that went on to win last year's coveted Thurber Prize for American Humor). During the interview, Trillin brought up the topic I've quoted above, about the people we know and have grown up with now reaching the age where they're being put in charge of things, and how weird that seems. It was a pretty funny bit, with Trillin making reference to the kids he grew up with, known for eating worms or wetting their pants in elementary school, now serving as college presidents, elected officials and other respected authorities.

I can relate to that already, looking back not just on the recent Senate candidate acquaintance, but also on the lives of many of my old elementary and secondary school friends. Back in high school, one of my best buddies and I had an ongoing (and definitely non-PC) gag that poked fun at the mentally disabled. So what is his profession now? He's a senior administrator for residential communities that provide care and independence to people with Down's Syndrome and other developmental disabilities, a cause that he's devoted his life to. In another case, I went to school in California with two brothers who did such crazy, dangerous stuff to and with one another (jumping off of roofs into pools, crashing bikes head on, etc.) that I seriously thought they were congenitally insane. Today, one is a respected corporate attorney in the Bay Area, while the other is a renowned chemical engineer. So, it just goes to show you that the attitudes and actions on display in someone's early life are no harbinger of things to come.

All of which brings me to a phone call I received a few weeks ago, from my old friend Camob . . .

I've mentioned him a couple of times here in this blog. He lives way out on the West Coast, in San Diego, so we don't get together very much - I think the last time I actually saw him was in 2009. But we've always kept in contact through phone conversations and emails, maintaining a friendship and connection that goes back more than thirty years, all the way back to when we were young pups living next door to one another in a dingy old dormitory in Newport, Rhode Island.

He's a lot like me, in that most of his musical loves and sensibilities were formed back when we were in prep school and college. Camob was well into the New Wave long before he came to Newport, and was a champion of bands of that ilk that hailed from his home state of California. For instance, I remember when L.A. natives The Go-Go's dropped their hit debut LP Beauty and The Beat in the summer of 1981; you would have thought that Camob owned stock in I.R.S. Records, the way he talked up that band and that disc to anyone who would listen! He knew a lot about SoCal bands like Sparks and the Surf Punks, groups that I had only a passing acquaintance with. But as I mentioned in a previous post, the thing that made us instant friends early on was the discovery that we were both huge Devo fanatics. During off hours, we would sometimes hang out in his room, listening to his cassette copy of New Traditionalists (released the month after the Go-Go's album, in August 1981) . . . or more often than not, he and I would march up and down the halls with our parade rifles, mock-serious, as "Devo Corporate Anthem" (off of Duty Now For The Future) blasted out of his room and James, his older, more worldly roommate, looked on at us with an air of bemusement (ah, the things we did when we were young!).

I was the one who turned Camob on to The B-52's, my favorite band at the time. I was stunned that he was unfamiliar with their music up to that point . . . but he was a fast learner. By Christmas of 1981, he was a full-fledged fan - leading up to our epic journey to Providence that winter to catch them live at the Performing Arts Center (click that link above for the full story).

Although decades have now passed and we are much older, Camob remains a committed fan of both Devo and more especially The B-52's.  He never misses an opportunity to see them play when they are in his area, which is fairly often. I've seen the Bee-Fives about 7 or 8 times in my life; I figure that, over the years, Camob has paid to see them at least 25 times all told, and has been to no less than a score of Spudboy concerts. Just before the holidays last year, during one of our phone conversations, he suggested that I keep an eye on the mails, as he was sending a package my way. I thought that was a bit odd, since he and I are not in the habit of sending each other Christmas gifts every year. I tried to pry out of him what it could be, without luck. But after a day or two, I sort of forgot about it. A few days later, however, a box with my name on it arrived at my door. I recalled that it was from him, but I had no idea what it could be. I tore the box open, and laughed hysterically as I found this inside:

A joke gift, but one from the heart, and a reminder and acknowledgement of our old days together.

A couple of years ago, I was browsing around the Web, and came across a site describing a recently remixed version of The B-52's song "Mesopotamia". So I started looking around for it, but instead stumbled upon a site that had what was purported to be the "original mix" of the Mesopotamia EP - the mix reportedly done by David Byrne that was mostly shelved after he and the band had disagreements regarding the album project (which was why Mesopotamia was released as a 6-song mini-album, instead of The B-52's third full-fledged studio album). From what I read, this "Byrne mix" was included only on early copies of the EP released in England, which were immediately pulled in favor of the version that most people are familiar with. But a couple of the English copies remained at large, and the guy running the site got his hands on one of them.

I practically levitated out of my seat as I read this. Mesopotamia has long been one of my favorite B-52's albums, but to this day it holds a mixed reputation among the band's aficionados. The EP marked a substantial change in the musical direction of the band. On this record, The B-52's moved away from the more 'basic', good-time, straight-ahead party rock sound of their first two albums (The B-52's and Wild Planet) into something somewhat darker, denser, more polyrhythmic and layered. Many fans and critics were horrified by this shift - I can recall one savage review from back then that contained the line "The B-52's tried to take the 'p' out of 'party', and failed." As a result, Mesopotamia peaked on the U.S. Billboard charts significantly lower than its predecessor, the Top 20 hit Wild Planet. This EP definitely put the brakes on The B-52's momentum, and it took them years to recover.

The full story behind the aborted Mesopotamia sessions has never been fully told.  From what I understand, the disagreements between David Byrne and the Bee-Fives stemmed from two things.  First, it was the sound itself, which was a radical departure from what the band was known for; the B-52's (and the label) were understandably nervous about so drastic a move away from what by then was considered a 'signature' sound for the group.  It seemed to them that Byrne was trying to act like a bush-league Brian Eno, and mold the band into a hybrid afro-worldbeat version of what Talking Heads had been doing under Eno's production during that time (Fear Of Music/Remain In Light/Speaking In Tongues).

In addition, Byrne was producing his first full-scale solo work, the musical score for the Twyla Tharp Broadway dance project, The Catherine Wheel. He was working full-bore on that during the day and producing/mixing the B-52's stuff at night (again, trying to be a little Eno). But unlike his mentor, Byrne obviously couldn't handle the stress/effort involved in helming two big projects at once, and one of them began to suffer. Guess which one? So between the changed sound and Byrne's inattention, they collectively decided to part ways, and scrap the full album sessions.

The problem the label had with aborting the album was that it screwed up their release plans; there was supposed to be a full-blown B-52s album on the shelves in 1981. So Warner Bros. quickly slapped together the Party Mix! remix EP for release in July 1981, buying time for themselves and the band while they tried to figure out what to do with the unfinished songs and mixes left by Byrne.

The result was chaos. Island, Warner's distributor in the UK, rushed the pressing of the overseas Mesopotamia discs for release in January 1982 - somehow including unfinished, unedited demos of some tracks, instead of the fully produced songs. So, you see - the heralded so-called "David Byrne original EP mixes" are actually nothing more than a music label's huge fuckup.

Even with all of that, they're still interesting. Three of the songs on this "Mesopotamia - David Byrne Mix" (screw it - for the sake of simplicity, let's just keep calling it that) - "Deep Sleep", the title cut, and "Nip It In The Bud" are essentially identical to what I'd heard for all these years. But there were significant differences in the other three songs/demos:

• "Loveland" - the 'David Byrne mix' is 8:24 minutes long, almost a full three and a half minutes longer than the "regular" version. It's also much 'dryer' than the familiar version; that is, there is no reverb or echo added to Kate's voice in this version of the song. Still, it's pretty good.
• "Throw That Beat In The Garbage Can" - This alternate version is a full minute and a half longer than the familiar version. I'd always sort-of liked the 'regular' version, but I always felt that, like "Nip It In The Bud", it could have been improved on. I discovered that, in this case, I was wrong. The 'David Byrne version', while longer, simply has too much going on within it - a lot of annoying sound effects and horn fanfares that intrude upon and ultimately diminish the song. I frankly prefer the version I've always listened to all these years to this one.
• "Cake" - The hands-down highlight of the 'Byrne mixes'. This version is two minutes longer than the familiar version. In this one, the song is slightly sped up from the 'norm', and overall it's a LOT funkier (in a cool Bootsy Collins, Speaking In Tongues-era Talking Heads fashion) and better put together than the released version. You don't notice the extended length of it; it's THAT good, and should have been the one to have gone on the official EP.

All in all, it was pretty exciting hearing these alternate versions. Despite its critics, I'd always liked Mesopotamia - regardless of the fact that, even at its debut, it had a sort of unfinished, half-assed feel to it. And I knew from my conversations with Camob that he liked the EP as well. So I quickly forwarded him a copy, and soon afterwards received the following response:

"Really appreciate you sending this along. As we have discussed before, I always loved Mesopotamia like you did and I always felt it got shorted by everyone but the true fans. I was never a big fan of "Throw That Beat........" or "Deep Sleep", Loved "Mesopotamia", "Cake", really liked "Nip it in the Bud" and "Loveland". And you are right on with your comments, this version of "Cake" should have been the one they included on the EP."

That's my boy Camob - always on my wavelength!

Camob graduated from Annapolis a year ahead of me, and spent all of his active duty Navy time in the Pacific Fleet. He left active duty back in the mid-90s and found a niche in the professional placement field, eventually opening up his own successful business. But he maintained his Navy connection and continued his military advancement as a reserve naval officer; as a reservist, it seemed that he was more 'active' than he was when he was actually in the regular Navy, with regular deployments to hot spots around the world.

So back to that phone call . . .

Camob called to tell me some outstanding news that he's just received - he had been selected for flag rank - my boy was going to be made an Admiral! I couldn't believe it!

. . . And yet, I could believe it. People who don't know him well might dismiss him - but Camob has worked his ass off all his life to achieve success, both in business and in the military, and has never let adversity or naysayers deter him from where he wanted to go and what he wanted to do on this planet. I have been lucky enough to see all of his facets throughout his life - from the beer-bong wielding, concert-attending, poker playing boon compadre and dependable wingman, to the dedicated family man, savvy business professional and 'watertight' military commander. He's not just one or another of those things - all those experiences and attitudes from across the years are what molded him into the man he is today.

So I don't expect him to change much, now that he's got gold stars on his lapels. He'll probably still chuckle over our email exchanges (some of the funniest things I've ever written and read have come through the banter and correspondence Camob and I have engaged in, off and on, for over thirty years now). He will undoubtedly be the first Flag Officer in U.S. history who's once owned (and worn) a plastic Devo "New Traditionalist Pomp" hairdo . . . one who's served more hours of disciplinary marching and room restriction at USNA than perhaps any other admiral . . . one who knows and appreciates who Lene Lovich, Jane Wiedlin and Susan Dallion are . . . a man who never missed an episode of The Facts Of Life when it was on, and who once nursed a years-long crush on one of the TV show's girls (I'll let you guess

which one) . . . and one who spent much more time laughing and having fun in school and in life than in sweating over things, politicking and glad-handing his way to high rank. I'm afraid to say that there are more than a few top officers out there who greased their way along with that sort of "brownnoser" attitude (and I can personally name more than one . . .) - Camob is NOT one of those officers.

As such . . . well, with my buddy making Admiral, I sort of feel like Henry Hill and Jimmy "The Gent" Conway felt in Goodfellas, when they heard that Tommy DeVito was going to be a 'made man' in the Mafia - "With Tommy being made, it was like we were all being made." With Camob, it's like, finally, the right man, one of our own, a guy I've known and liked for forever and can relate to, made it. And I couldn't be happier.

(of course, in Goodfellas, this happened . . .

. . . so maybe that's not such the best analogy to use in this case . . . but I digress . . .)

So, with all of this, I have to say that in this instance I can't agree with Trillin's assessment of 'friends in high places". Knowing that Camob is now one of the folks "in charge of things" doesn't scare the hell out of me; quite the opposite - it makes me smile, knowing that, at least in this case, justice prevailed, things are in the right hands, and all is good and proper in the world. Congratulations to my old and dear friend!

So, in honor of the new RADM (USNR) Camob, here's The B-52's Mesopotamia EP, containing the alternate demo versions, released erroneously by Island Records in the United Kingdom on January 27th, 1982. Enjoy, and as always, let me know what you think.  

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The B-52's - The B-52's (RS500 - #152)

The first album I ever bought with my own money, and one of my favorite albums of all time, The B-52's debut album, released in July 1979 on Island Records and distributed by Warner Brothers.

The first time I ever saw or heard The B-52s was on NBC's Saturday Night Live in January 1980. By mid-1979, both Dan Ackroyd and John Belushi had left the show, and SNL was definitely on a downhill slide. But Saturday Night Live's saving grace during its fifth season was in the quality of its musical guests. In that year, the show featured famous, iconic appearances by David Bowie (backed by future recording artist Klaus Nomi, in definitely one of the weirdest yet most fascinating network TV performances of all time), The Specials (they did :"Gangsters" and "Too Much Too Young", which absolutely SLAYED me), Gary Numan and Blondie. Frankly, due to the uneven writing of that season, the musical guests were practically the only reason to watch the show that year.

Anyway, I watched the episode featuring The B-52s from my home in Massachusetts, and thought I had just witnessed one of the greatest bands in the world. I couldn't get "Rock Lobster" out of my head!

When I went back to school the following Monday, I was eager to hear my friends' reaction to this New Wave band from Georgia. So I was surprised when nearly everyone who saw the show began running the band down, talking about how 'weird' and 'crappy' they were. Mind you, this WAS during the end of the 70s, in a small conservative town in New England. The popular bands for people at my school back then included Styx (it's always surprised me that multiple hearings of "Babe" and "Come Sail Away", which played constantly that year, didn't lead to more teen violence and suicides . . .), Foreigner and ELO. The more 'rebellious' kids were into The Cars. But overall, in 1980 there were very few guys or girls there who would admit to liking punk or new wave, 'weird' music that would get you classed with a very select and nongrata group of students.

So I was sort of on my own, and kept my love of that type of music to myself. The SNL performance was the only time for many months afterward that I heard "Rock Lobster", but I kept the song in my head and looked forward to hearing it again.

That spring, we got the word that my dad was going to be transferred from Massachusetts all the way across country to California. This was very exciting to me and the rest of my family. I had never set foot in California up to that point, but from what I read and saw, it was a land of constant sun, palm trees and movie stars, where every kid wore OP shirts and carried surfboards to school, so they could hit the waves after the final bell. My Massachusetts friends were extremely jealous of our upcoming move, and I was completely jazzed. In July, we loaded up the Chevy van, said goodbye to New England, and made a long, epic cross-country journey to the Monterey Peninsula, arriving late one evening.

On our first morning there, my brother and I leapt out of bed and raced for the door, eager to see bright, sunny California with our own eyes. We got outside to find it grey, cold and dreary, not like what we pictured at all! It stayed that way all day. Oh well, we thought - the next day will be better. But the following day was just as foggy and cold and the first, and that trend continued for most of the summer. We didn't realize that Northern California was nothing like the Southern California of TV shows and Beach Boys fantasies. That cold water running down along the coast from Alaska, past San Francisco and into Monterey, leads to some hellacious fog that usually doesn't burn off until late morning/early afternoon. It was definitely not what I had expected, and it was depressing.

School started there that September, and between the stresses of getting acclimated to new surroundings and dealing with the cold, damp weather every morning, I was pretty miserable. My sister (who was in the same grade) felt the same way, and for the first couple of weeks she and I sat out on the stone bleachers overlooking the football field during our breaks, looking out across the bay towards Seaside and wishing we were somewhere else. I could see or sense nothing special about my new home . . .

Until one afternoon in late September. I was once again sitting out on the bleachers, mired in a funk, when suddenly a student I didn't know drove up in a beat-up Mustang, music blaring. His nearby friends walked over to talk to him. It was then I realized that the song blasting out of his car was "Rock Lobster", the first time I had heard it since SNL in January! It would have been unheard of for someone at my old school to be caught with a B-52's song thundering out of his car. I don't know why, but hearing that song again, in the place were I was, made me think to myself "See, this place is going to be all right."

I worked up the nerve to walk over to introduce myself to the guy, and we eventually became good friends. He introduced me to his buddies, and suddenly I had friends all over the school. Later that week, out of the blue, I got a job working after school at a ritzy girls' school down the road from where I lived. With the first paycheck I received, I went down to the record store at Del Monte Mall and bought the Yellow Album, which I played to death on the family stereo with the volume turned low - my parents didn't 'get' this crazy new music at all! But overall, things were suddenly a whole lot sunnier, funnier and happier; I didn't even notice the morning fog anymore.

From the point I heard "Rock Lobster" again, things at school got better; life in general there was a whole lot better. Now, I look back fondly on that time, and consider Monterey, California to be the best place I ever lived. And that's why I love and enjoy this album to this day.

I'm sure you already own this - if not, here you are:

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Brian Eno - Here Come The Warm Jets (RS500 - #436)

Brian Eno has been one of my favorite musicians for a long time now, but this was mostly due to his collaborative work with other musicians. He is rightly renowned for his work with David Bowie on Bowie's famous trio of Berlin-era albums (Low, 'Heroes' and Lodger). He played a similar role with Talking Heads, acting as the producer and virtual fifth member of the band (to the reported chagrin of Tina Weymouth and Chris Frantz) on their own trilogy (More Songs About Buildings And Food, Fear Of Music, and Remain In Light). In between all of that, he still found time to produce Devo's stunning debut My Life In The Bush Of Ghosts, a truly groundbreaking, ahead-of-its-time album that is one of my personal Top Ten records ever.

album and release, in collaboration with David Byrne,

But for a long time, Eno's solo work has left me kind of cold. Back in the 80's, I was a big Bauhaus fan, and their cover version of "Third Uncle" led me to Eno's Taking Tiger Mountain (By Strategy), the source of the original. But overall, that album did nothing for me, and from that negative reaction, I shied away from Eno's solo work for many, many years.

A few years ago, I was talking with a friend about Eno. The conversation initially centered on Bush Of Ghosts, which we both agreed was a masterpiece. When he began addressing some of Eno's early solo work, I told him about my reaction to Taking Tiger Mountain. He was stunned that I hadn't fully gotten into the whole Eno back catalogue, and the next day he sent me this album, Here Come The Warm Jets.

All I have to say about this album is . . . WOW. Here Come The Warm Jets was recorded in the immediate aftermath of Eno's departure from Roxy Music, where he had an acrimonious relationship with that group's leader Brian Ferry and was frustrated with the constraints of the band's glam rock sound. Warm Jets can almost been viewed as Eno's reaction to being released from those constraints, while also flipping a big middle finger at his former band, and Brian Ferry in particular (listen to Eno's vocals on songs such as "Cindy Tells Me" and "Some Of Them Are Old" - he appears to be purposely emulating Ferry's singing style!). But this isn't just a "taking the piss out of Roxy Music" record. Eno has some great ideas and melodies on this album, and even today this work sounds fresh and innovative. Some of my favorite tunes include the fantastic "Needle In The Camel's Eye", "Dead Finks Don't Talk", and one of the best songs of Eno's career, the dreamy, transporting "On Some Faraway Beach".

Here Come The Warm Jets reopened my mind to Eno's solo work. I gave Taking Tiger Mountain (By Strategy) another listen, after ignoring it for several years, and now found that it is nearly Warm Jets' equal. And from there, I began investigating his ambient works and later stuff like Nerve Net. All in all, Brian Eno is a fascinating, innovative artist, and his complete catalogue (both solo and with others) is worthy of review and appreciation.

If you don't own this album, I heartily recommend giving it a listen. You won't be disappointed. If anything, Rolling Stone ranked this one too low.

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