Ever since I posted the video of The Dave Clark Five doing “Bits and Pieces” as part of my review of Joan Jett’s I Love Rock ‘n’ Roll, I’ve been troubled, my friends. Troubled.
The awkward, stiff, mechanical choreography of the band members disturbed me, especially when combined with the Nazi-like echoes from all that boot-stomping. Something told me this was more than an aversion to canned presentations or echoes of a past life under Hitler, but I couldn’t quite put my finger on why it bothered me so much. After weeks of angst and frustration, I decided to consult the one source that explains everything you need to know in life.
I found my answer in the TNG episode, “Data’s Day,” in the scene where Beverly tries to teach Data how to dance. He is mechanical, robotic, awkward. Even after he stops stepping on her toes, his smile is frozen, arctic, exaggerated. Just like The Dave Clark Five on “Bits and Pieces!”
Aha! The Dave Clark Five were androids!
Well, not the whole band. I think Mike Smith was the real one, controlling the androids from a strategically-placed position through his cleverly-disguised keyboard while giving the band a more terrestrial sound so they could more easily winnow their way into the hearts of millions of innocent, pubescent young ladies. I’ll go even further and provocatively suggest that The Dave Clark Five were not the only products of cybernetic engineering to participate in the Invasion. Mass production of androids is the only viable explanation for why hundreds of British performers appeared out of nowhere at the exact same moment in history to conquer the music world. Evidence? You want evidence? How about “The Freddie?” No human with any sense of self-respect could have conceived of or done The Freddie! Watch this clip and listen to Freddie’s robotic voice, study the awkward dialogue between Freddie and Trini Lopez, and pay close attention to the obviously programmed dance movements:
I think I’m onto something here! I’ve done some serious research on that period of history and I know my stuff! The Sixties were the decade of powerful, top-secret cabals staffed with handsome secret agents like James Bond and Jim Phelps mixing exploding martinis for sinister foreigners to thwart their deep and diabolical plans to destroy our cherished, hard-won freedom! The CIA, KGB, MI5 and the IMF team had powers that even the most paranoid people haven’t begun to imagine. I mean, we’re talking about people who had super-advanced technology that they stole from the aliens they locked up in Area 51 so they could fake the moon landing and get the public to believe that JFK and Marilyn Monroe were dead when I know for a fact that neither of them died, but that they used JFK’s inheritance to buy a remote tropical island so they could drink daiquiris and fuck all the time because that’s what JFK wanted to do anyway and Marilyn, well, she swung both ways and JFK liked variety and so they brought along another woman and, according to a very reliable source who’s written over thirty books on the subject, that person was none other than Amelia Earhart!
Well, if they could do all that, they could make android rock stars, couldn’t they? Couldn’t they?
I’ll let you chew on my brilliant conspiracy theory for a while and get back to The Dave Clark Five. Baby Boomers remember them as the band who posed the greatest threat to The Beatles’ dominance of the charts. My generation nevah hoid of da bums. Seriously. Millenials know and actually like The Beatles, find the The Rolling Stones quaint and amusing museum pieces, and those who listen to garage rock on Little Steven’s Underground Garage probably know early Kinks, Yardbirds and maybe Them. The DC5? Wasn’t that some kind of airplane?
This collection might help restore some of their former glory, especially if the listener is called away to attend to a house fire about halfway through the record. The Dave Clark Five: The Hits is . . . how shall I say it? . . . front-loaded. All the great stuff—and there was some great stuff—can be found on the first half of the collection, in the first dozen or so songs. After that, well . . . Here’s an actual transcript of my reactions to some of the turkeys that fill the remaining digital space:
- “What the fuck?”
- “Arggh! What was that?”
- “You’ve got to be fucking kidding me!”
- “Oh, no—not that! They did that?”
- And several renditions of my personal favorite: “Oh, for fuck’s sake!”
I’ll limit my more insightful comments to the hits up to and including “Over and Over,” leaving the rest for an appropriately obscene epitaph. The album kinda sorta tracks the U. K. hit order, but don’t expect much in terms of musical development on this journey. The Dave Clark Five in their prime were a solid rock band with a great lead singer in Mike Smith but with a very small sweet spot that kept shrinking as the years rolled by. What this collection manages to accomplish is to clearly delineate the two phases of the band. The first phase was their “The Beatles’ #1 Challenger” phase, a period of musical and financial success that lasted a couple of years. Their second, lengthier phase was a bizarre mix of soul, surf, country, sickeningly sappy and flat-out lousy that we’ll call their “What the Fuck?” stage.
It’s interesting that they remained popular in the U. K. through 1970. My dad was shocked to hear they did anything after 1966, and had pretty much the same reaction that I had to the second half of this record. Since he’s the one who gave his little girl a potty mouth by swearing voluminously during Giants games in the truly arctic winds of soon-to-be-history-thank-god Candlestick Park, I won’t bore you with the repetition of previously-used cuss words. I will, however, humbly and thankfully dedicate this review to my foul-mouthed father.
“Do You Love Me”: Every British band kicked off their careers with covers, usually of American R&B hits. This one was a particular favorite of those rampaging British in the years of invasion, recorded by such luminaries as Brian Poole and The Tremeloes and The Hollies. The original by The Contours was pretty rough for the Gidget era, even if it did pander to the mainstream by mentioning The Twist and The Mashed Potatoes. DC5’s version matches the energy of the original, as Mike Smith belts out a good, rough vocal and the three members without saxophones in their mouths provide enthusiastic response and background vocals. The only voice you don’t hear is that of Denis Payton, who played both alto and tenor sax. Let’s just say up front that Denis Payton will never be confused with John Coltrane.
“Glad All Over”: The monster hit that knocked The Beatles off the top of the charts (in the U. K., anyway) is simply one of the great rock ‘n’ roll songs of all time. A call-and-response song like “Do You Love Me,” this Clark-Smith piece is more disciplined and much more powerful. What accounts for the energy is a combination of Mike Smith’s confident vocal, Dave Clark’s neanderthal drum work and that inspired decision to split the opening lines of the chorus: “I’m feeling . . .” (BAM! BAM!) “GLAD/crash ALL OVER!” Goddamn if that isn’t one of the most exciting moments in all of rock! I also love the stop-stutter-stop crescendo at the end of the bridge, “I-I-will stay”with a slight touch of echo. The bass is fab, and Denny handles his rhythm sax part of four or five notes without a skip. They had to call it something, so they called it the Tottenham Sound, but it’s really Phil Spector with a British accent.
“Bits and Pieces”: I heard Joan Jett’s version before I heard the DC5’s, and have grown to love them both, as long as I don’t have to watch that performance on Top of the Pops. Joan’s is more sass, spit and gum-snapping indifference; Mike Smith’s is more “I’ve had it with this shit, woman!” Like “Glad All Over,” it opens with the drums, and like both preceding songs, it’s a call-and-response number (the snob who wrote the Wikipedia article on this song just had to refer to it as “antiphonal” to raise his cred with the Greek scholar community and raise his chances for entry into Oxford). Let’s see . . . drums as the centerpiece, call-and-response vocals, sax and guitar as rhythm instruments . . . do I detect a formula here? They would vary this formula only slightly through phase one, but they deserve credit for milking this formula for all it was worth.
“Can’t You See That She’s Mine”: Another Clark-Smith composition (with two lines pinched from Ray Charles’ “Sticks and Stones”), they vary the formula and let Mike Smith take center stage with a snappy organ, a knockout vocal with superbly slurred phrasing. They give Denny a shot at the saxophone solo, and sad to say, he blows it (Ha! I love my puns!). But I love this song—Mike Smith could extend those growls as well as anyone, the hallmark of a great rock singer.
“Everybody Knows (I Still Love You)”: This is one of the more interesting songs in their catalogue, with dark harmonies, offbeat chord combinations and shifting tempos. The verse structure is actually bifurcated (love that word!), with a slower, moodier half followed by a more soulful and dynamic section. The DC5 were actually pretty strong on ballads, and I wish they’d done more of those instead of crap like “Zip-a-Dee-Doo-Dah,” which appeared on their first album. I kid you not.
“Don’t Let Me Down”: The B-side to a 1966 single called “Satisfied with You,” a country-and-western number that was so awful it didn’t even make the cut for this album. This boogie-woogie piano number is much more their style, but it doesn’t measure up to their early hits.
“Anyway You Want It”: One of the limitations of the Dave Clark Five was that their songwriters had a combined vocabulary of about twenty-five words. This one was written by Dave alone, so the repetition is extreme. Not only do they sing “It’s alright” ten times in a row during the chorus, but they repeat “Any way you want it” fourteen times and “That’s the way it will be” ten times. Dave even commits the cardinal sin of using the title line “Any way you want it” for the first and third lines of the bridge. Given the enthusiasm they bring to the music here, Dave could have put a little more effort into the lyrics so that it didn’t wind up sounding like a Burger King commercial. Musically, it has a strong, forceful sound. A warning to all you young fellows, so young and so fine: bad lyrics can kill.
“Wild Weekend”: Okay, try to follow me people. The Dave Clark Five made a movie called Catch Us If You Can. That movie was released in the United States as Having a Wild Weekend, and there was a soundtrack album of the same name, but only four of the twelve songs appeared in the movie. If this sounds like a less-than-focused approach to movie-music-making, you’re right! This collection calls the title track “Wild Weekend,” dropping the “Having a” for reasons unknown. After that ridiculously long explanation, all I have to report is that this is a cliche-ridden number that was probably written in eleven seconds.
“Catch Us If You Can”: The alternative title track has the virtue of a more interesting musical arrangement with the spare finger-snap verses contrasting nicely with the sax-bottomed chorus. The instrumental solo is weak, with thoroughly average harmonica and a sax reminiscent of a duck call. The point of the lyrics is . . . what? “Catch us . . . live at Twickenham . . . if you can?” “Catch us . . . in our new movie . . . if you can?” And why would I want to hear them “yell with all of our might?” In the end, the song reminds me too much of the theme from The Monkees.
I have not seen the movie, which received mixed reviews. Here’s the opening clip with the theme song (uh, British film version theme song):
“Because”: About a year-and-a-half out-of-place on this record, “Because” is one of the great love ballads of the era, pure and simple. It’s also their strongest and most interesting arrangement, from the opening strum (first time I’ve mentioned guitar here, people!) to the blues-tinged riff on the organ that ends the instrumental passage. The lower-pitched harmonies give the song a sincere, gut-level feel that more than compensates for any sweetness. The UK record company refused to release this as an A-side single because they were afraid it strayed too far from the formula, another classically dumb decision by the guys at the top. This is Dave Clark’s songwriting masterpiece, and it more than deserved A-side attention and publicity.
“I Like It Like That”: I don’t care for either Chris Kenner’s original or DC5’s cover much, but if I had to choose, I’d take Mike Smith’s vocal over Kenner’s any day of the week. Mike overplays his hand on the closing line, but really, this song doesn’t give a singer much to work with, as it’s a rather silly song.
“Reelin’ and Rockin'”: Not even close to the Chuck Berry original. One of Mike’s weakest vocals, largely because he never finds the right groove for this song. The arrangement is sloppy and has the sound of a last-minute decision . . . a bad one.
“Over and Over”: This is one time that the cover crushes the original. First recorded by Bobby Day, the guy who brought you the gag-me-with-a-spoon “Rockin’ Robin,” The DC5 takes this song and makes it their own. The shared vocals are tight, the rhythm sax actually sounds strong and full and Dave’s got the drum fills down to a science. It’s also a harbinger of the decline to come, for at this point in their career, they should have managed to wean themselves from cover songs.
After “Over and Over,” The Dave Clark Five began their transformation from credible rock outfit to third-rate lounge act. They opted not to take the more experimental directions other bands were taking during that pivotal year of 1967, but for reasons unknown, they also stopped playing to their core strength: doing energetic, fun rock ‘n’ roll. Instead, they became a pop cover band, and their song selection was simply atrocious. “Put a Little Love in Your Heart?” Are you fucking kidding me? “Sha-Na-Na-Hey-Hey-Kiss Him Goodbye?” Oh, for fuck’s sake! The Youngbloods’ “Get Together?” What the hell?
The imaginative explanation for this shocking decline is that the original androids wore down, had to be replaced, and because they’d used all the alien-built parts left from the Area 51 spaceship, they contracted with British Motor Corporation, noted for making irresistibly beautiful automobiles that spent most of their lives in the mechanic’s shop. The earthbound explanation is that there was a fundamental flaw in the band’s structure: Dave Clark was the leader and the band manager. That is an artistic conflict of interest, and since Dave wasn’t that artistic in the first place, management won out . . . and we all know that most managers are primarily concerned with preserving power and status. This led to what appears to have been a “retrenchment strategy,” where they relied on their core audience in the UK to keep buying whatever crap they put out to preserve the capital earned from the Invasion. Their last U. S. single to make either Top 100 list was “Please Stay” at #96 in early 1967; their last nine singles failed to chart on either Billboard or Cashbox. Their presence hung in the air a few years longer in the U. K., where even “Get Together” made it into the Top Ten. All indications are that it was only going to get worse; the two previously unreleased tracks, “Universal Love” and “Every American Citizen,” only proved that The Dave Clark Five had no business trying to grapple with metaphysical or spiritual topics.
Simply put, when you stop growing, you die, and that’s what happened to The Dave Clark Five and many other Invasion bands who failed to expand their sound during the great shift in 1966-1967. Having said that, I can completely understand how they achieved status as the top contender to the throne in 1964. They put out some outstanding rock songs and two exceptionally strong ballads, and on a singles-only basis, The DC5’s output that year is pretty impressive, even when compared to The Beatles’ single releases. When you go deeper, though, and look at the music on the albums, there is no contest: The Beatles had far more depth in their catalogue. Even then their albums were full of songs that could have easily been Top 10 singles had they chose to flood the market even more than they had already. DC5 never came close to producing a memorable album because they lacked range and musical imagination.
My feeling is we should remember, honor and enjoy the great music they produced during a very exciting time in musical history and leave it at that.
I’ve always had a soft spot for Eric Burdon because he picked my mother out of a crowd as a woman he wanted to fuck and had the civility to ask my father for permission first. That’s class!
Unfortunately for Eric, soft spots don’t earn anyone a free pass from The Alt Rock Chick!
The Animals were the first “bad boys” of the Invasion, though they were soon to be out-grunged by the more dangerous, hide-your-virgin-daughters appeal of The Rolling Stones. The “bad boys” were a group of invaders who based their music more on the work of black blues and R&B artists, whereas the “beat groups” drew more influence from the early rockers and girl group . . . so say those given to racism who have to categorize everything in sight.
The Animals, in various incarnations centered around Eric Burdon, had a comparatively long run of hits, staying on the charts until 1968. They were primarily a singles band, and the only album that reached the top ten in The States was their first. The Animals were generally at their best when they stuck to the gritty scenery that sets the stage for life in the lower classes, average when it came to pure blues or R&B and absolutely ridiculous when Eric Burdon moved to California and transformed himself into yet another tedious spokesperson for the hippie movement. From a musical standpoint, I think they lost a great deal when Alan Price left the band because he had the talent and presence to serve as a counterweight to Eric Burdon. After his departure, the Animals became Eric Burdon’s band, eventually changing the name (with two or three variations) to reflect that fait accompli. At first, Price’s departure didn’t make much of a difference, as some of the The Animals’ greatest songs are from the immediate post-Price period. In the long run, The Animals fell prey to Eric Burdon’s hunches concerning musical direction, which were hit or miss at best.
As for the degree of influence The Animals had, that’s a matter of debate. Some claim that it was The Animals, not The Byrds, who created the genre of folk rock. Talk about a tempest in a teapot! Let’s get something straight: musicians don’t create genres, marketers and librarians do. Since rock and folk are based on similar chord structures and commonly use some kind of strummed instrument (lute, balalaika, guitar, etc) as a centerpiece, all it took to “invent a new genre” was for some yahoo to plug in a guitar and play already familiar patterns. Big deal. The argument for Burdon and the boys is that The Animals’ first two hits were folk songs played with them newfangled electric instruments. Some even credit The Animals with influencing Dylan to add electric instruments to his act. I view that assertion with skepticism, because musicians and critics are always trying to rewrite history to justify their theories or make themselves look good. The evidence cited is that Dylan did “The House of the Rising Sun” on his first album and reportedly “jumped out of his car seat” when he first heard The Animals’ version on the radio. In other words, circumstantial evidence at best.
I’ll let other people argue over this trivia. My personal opinion is that I don’t think they were that influential, in large part because they took too long to start writing their own songs and many of those songs are of questionable value.
Let’s get to the music so you can form your own opinions. The Retrospective collection cheats a little by adding “Spill the Wine” to the set, reinforcing the notion that The Animals were Eric Burdon and vice versa. I don’t mind. The story of The Animals is the story of the career of Eric Burdon, so I like it that the album ends with his swan song performance and that his exit as a regular on the pop charts was a memorable musical experience. The track order isn’t perfect, but it’s better than most in following the chronology of their musical development. While the collection doesn’t begin at the beginning, we can get there with a literary flourish or two.
Once upon a time there was a band from Newcastle upon Tyne called the Kansas City Five who changed their name to The Animals after the nickname of one of their buddies and traveled down to London to play at the Crawdaddy Club, where they were introduced to an evil fart named Mickie Most who ordered them to launch their recording career with . . .
“Baby Let Me Take You Home”: Now I’m cheating a little. This song actually appears third on the CD track list, because I suppose the compilers wanted to open with The Animals’ signature song to attract consumers. Harrumph! God damn, I love that opening guitar riff, where Hilton Valentine seems to defy time and space. What happens is that his arpeggiated intro ends one beat early, so when the band comes in it takes the listener by surprise and makes the song that much more exciting. For a rookie singer, Eric Burdon shows surprising sophistication with his sometimes off-beat phrasing and sheer presence. Alan Price helps define The Animals’ early sound with his deft touch on the organ and Chas Chandler rips it on the bass in the double time coda. This is a super maiden release that sure beats the hell out of “Love Me Do.” The song can be traced back to either Blind Boy Fuller or Reverend Gary Davis, and was later transformed by 60’s folk scene presence Eric Von Schmidt into “Baby Let Me Follow You Down,” the version “re-arranged” by Bert Russell and Wes Farrell into “Baby Let Me Take You Home.” Let’s see . . . that makes at least five plagiarism-related lawsuits that are no doubt still working their way through the courts with each dead man’s estate fighting for every penny.
“The House of the Rising Sun”: After that side trip into the complexities of the legal system, I am relieved to inform you that “The House of the Rising Sun” is of uncertain origin. Instead of wasting our time on competing hypotheses, how about if we just enjoy the damned song? It is absolutely mesmerizing! The repetitive arpeggiated chord pattern combined with the 2/4 time reflects the relentless march of evil that will inexorably and inevitably swallow the soul. Eric Burdon’s vocal is a dramatic tour de force and Alan Price’s organ adds that eerie feeling that there are certain things in life that are beyond a man’s control, especially seething passions and irresistible temptations. Gambling den or whore house, the place is a symbol of consuming temptation and creeping addiction to vice; dissolution becomes “that ball and chain” from which there is no escape. My interpretation is that the original place was where normal people went to have a good time, then returned to “normal” and found themselves drowning in various forms of Christian guilt. There could never be a House of the Rising Sun in a culture that doesn’t equate sex with sin. Eric Burdon even manages to stay in character and communicate genuine regret for his character’s debauchery. Since we know that the real Eric Burdon propositioned my mother in front of 5,000 witnesses, we have to give him credit for his acting skills.
“I’m Crying”: Their follow-up hit bursts out of the gate with the band creating maximum sound with everything they could throw at the studio microphones. The Animals generally did more vocals in unison than in harmony, and here the “ah-ah-ah” vocal pattern is particularly effective in its simplicity: you take the high note, I’ll take the low note, let’s stay on the same note. I do detect one of Eric Burdon’s flaws emerging here: sometimes he hams it up and over-emphasizes rather dull lines with excessive volume and emotion. A simple blues pattern with the flatted third and fourth chords adding a teeny bit of variety, “I’m Crying” is the classic hit carried into the top ten more on the strength of its predecessor than the song itself.
“Gonna Send You Back to Walker”: The B-side to “Baby Let Me Take You Home,” it’s really too bad that 45’s weren’t three-dimensional, because this song is clearly C-side quality. Based on Timmy Shaw’s minor (and only) hit, “Gonna Send You Back to Georgia,” The Animals attempt to localize the song for the British market by changing the return destination to Walker, a burb outside of Newcastle where Eric Burdon grew up. They carefully change the directional preposition from “from” to “to” so that the babe who is the object of the song goes south to get to Swinging London, so that Eric can send her home in a northerly direction after her big city experience turns her into a desirable possession whom other men may covet. For all their efforts at pre-GPS triangulation, the song proves to be a bore, and they made a major mistake in removing the most provocative verse from the original: “You run the streets with your bald head/Tryin’ to play the high-class game/You’d run those streets on both day and night/You don’t have pocket change.” Whoa, Nellie! What was that girl up to?
“Boom Boom”: Uh-uh (shaking head vigorously)! No way (jaw firms up in defiance)! Look, when John Lee Hooker sings, “I’m gonna shoot you right down” to his woman, he fucking means it, whether the shooting is a euphemism for getting a sassy bitch off her high horse, a fluid he would like to eject from his hardened member, or a small metal object expelled from the barrel of a .44. Eric Burdon doesn’t mean it, because he didn’t have the life experience to give those words the layers of meaning in the original. Once again, he overdoes the vocal. John Lee’s is one of quiet, cocky confidence: he knows that bitch is goin’ down.
“Don’t Let Me Be Misunderstood”: This time Eric gets it right. His vocal is actually more restrained than Nina Simone’s original, and clearly communicates the vulnerability that men often deny. The quicker tempo also helps the song; Nina’s version sounds draggy to me, as if the point was to squeeze every last drop of emotion from every syllable. In real life, someone admitting mistakes and flaws in the personality would tend to speak at a faster rate once the words started to tumble out, with brief stutters and stops along the way. Eric Burdon understood those emotional dynamics, even occasionally slipping back into a tone of self-justification that gives his vocal more credibility. I love the unison vocals on the chorus, the quiet humming in the background and Alan Price’s work on the organ.
“Bring It on Home to Me”: It’s tough to measure up to anything Sam Cooke ever did, but Eric does a credible job with this cover. I just hate that little snickering laugh he adds in the second verse: “You know I laughed (ha-ha) when you left.” What the fuck is that? I guess no one taught Eric the Count Basie Theory: less is more!
“We Gotta Get Out of This Place”: A classic example of how cultures apply art in ways other than the artist intended. This Mann-Weill number is largely famous for the chorus and the repetition of the title line. It’s easy to understand why American boys trapped in the dismal jungles of Vietnam made this their unofficial theme song. “We’ve gotta get out of this place if it’s the last thing we ever do” is a powerful double entendre when “the last thing we ever do” may become tragically true. The real story of the song has nothing to do with Vietnam, but the thing we now call “income inequality,” hardly a new phenomenon in capitalist cultures. To work your life away and still find yourself trapped in poverty, unable to afford health care and stuck in a tiny shithole of a flat is a humiliating experience of permanent despair (“See my daddy in bed a-dyin’/See his hair turning’ gray/He’s been working and slaving his life away.”) Even high-paid professionals can relate to this song in a more existential fashion, because many of them feel like they’re working their lives away in meaningless jobs. Barry Mann and Cynthia Weill were the best of the Brill Building songwriters, and this song is one for the ages. As noted above, Eric Burdon shines when he’s singing about the gritty and hard lives of the lower classes. Kudos to replacement organist Dave Rowberry for not overplaying his hand, and to Chas Chandler for one of the most recognizable bass riffs in history. By the way, this is the original American single release, so all those people who have been whining that the versions on “The Most of” and “The Best of” albums were bogus can now rest in peace.
“It’s My Life”: Continuing with the formula of notable bass runs and life in the slums, we have another Brill Building creation courtesy of Roger Atkins and Carl D’Errico (this one specifically commissioned by Mickie Most for The Animals’ next single). The opening combination of Chas Chandler’s bass run and Hilton Valentine on a 12-string Ric grabs your attention with the emphasis on the flatted fifth note presaging the dysfunctional nature of the living situation. Because Eric Burdon cared more about feel than precise enunciation, some listeners never realize that the narrator is a poor young stud whose plan is to use his sexual prowess to exploit the fuck out of rich women and get the hell out of a life of “sweatin’ rent.” Can’t say I blame him, and if the women get their rocks off and are willing to pay up, everyone goes home happy. While mutually agreed-upon exploitation is a pretty pathetic way to relate to one another, this kind of thing is going to happen in a world where people are trained to believe that life is dog-eat-dog, no matter what your station in life. Rich women have to get laid like the rest of us, and poor boys with big dicks have a talent that fits nicely in a supply-and-demand economy. I actually prefer this song to “We Gotta Get Out of This Place” from a musical perspective, but both represent The Animals at their best.
“Don’t Bring Me Down”: There sure were a lot of don’t-let-me-down-bring-me-down-put-me-down songs in the 1960’s! Living under the constant threat of nuclear war must have made everyone a bit sensitive. I’m not too fond of this piece; the parts never really come together into a satisfying whole. The fuzz guitar seems to have been thrown in because of trendiness rather than fit.
“See See Rider”: Yawn. If there’s one blues number that has been played to death, it’s this one. After the swirling organ opens the song, there isn’t much to hold one’s interest. Mitch Ryder’s version with “Jenny Take a Ride” was way better.
“Inside, Looking Out”: Eric Burdon and Chas Chandler took one of the songs discovered by the Lomax brothers in their search for American roots music and turned it into a decent-sized hit in the U. K. The sound is more garage band than studio, which works well for this old work song. There’s some very nifty organ work from Dave Rowberry here, and the ham in Eric Burdon must have loved the stop-time structure of the verses.
“Hey Gyp”: The unfortunate connection between Eric Burdon and Donovan that would inform the work of Eric’s hippie phase began with this cover of a pedestrian song by Donovan that any teenager could have written at the time. Bo-ring.
“Help Me Girl”: The original Animals were in the process of breaking up, so this tune appeared on Eric Burdon’s solo album Eric Is Here, credited to Eric Burdon & The Animals. I find it very helpful when artists clearly delineate their phases, which is the only thing I like about this song. The horns are so Bob Crewe Generation.
“When I Was Young”: The last of the gritty trilogy was thankfully composed by the entire band (now Eric Burdon & The Animals), giving the performance an immediate sense of credibility. My favorite of the three and probably my favorite Animals song of them all, this song frigging works on so many levels I love replaying it just to pick out the parts: the descending distorted guitar opening, the Indian-like guitar riff courtesy of new lead guitarist Vic Briggs, the flashes of electric violin and best of all, Eric Burdon’s delivery of one line in particular: “Pain more painful, laughter much louder, yeah.” If you listen closely there’s almost a hidden laugh behind the vocalization of the word “laughter,” and the closing “yeah” is snapped off with street-wise perfection. The modulation of the dynamics from quiet to loud to utter stillness is terribly effective and the mixed-race implications of “she was brown and I was pretty green” were pretty daring for the time.
“A Girl Named Sandoz”: While I do like The Smashing Pumpkins’ version better, I like the mix of garage feel and San Francisco sound on The Animals’ version. It sounds very Haight-Ashbury, as should any song where the heroine is named after the pharma company that brought helped bring LSD into the world.
“San Franciscan Nights”: Oh, for fuck’s sake. Warm San Franciscan nights? When? I lived in the City for twenty-five years and can remember maybe three warm nights. If you come to San Francisco in July or August and you see hordes of tourists shivering in their tank tops and shorts around Union Square as they huddle closely together in line waiting for the souvenir stores to open so they can buy piles of sweatshirts and sweatpants to protect them from the relentless fog and wind of a San Francisco summer, you’ll know whom to blame. “It’s summer! Isn’t California supposed to be warm in the summer?” they whimper in pathetic explanation of their skimpy wardrobes. The only way you could possibly describe San Francisco nights as warm is through the influence of LSD. Cocaine simply won’t do—you need something that completely distorts your perceptual field to believe that icy fog is a warm and snuggly blanket. To use this song as a plug for his buddy Donovan (“fly Trans Love Airways”) adds insult to frostbite.
“Monterey”: I guess Eric decided to pick up some extra cash as a marketing shill for the music industry. This song defines the regrettable tendency of humans in modern society to define certain happenings as “seminal events,” an exaggerative tendency much like the current practice to turn everyone who ever made a record into a “legend.” Baby Boomers are particularly prone to attaching excessive meaning to events, from Woodstock to Watergate to the Super Bowl. The most offensive aspect of this song is its elevation of musicians into godlike status. Referring to a drugged-out, unreliable guitarist as “His Majesty Prince Jones” is seriously over-the-top, as is the line “young gods smiled upon the crowd,” referring to the performers. The excess of this song is breathtaking, easily making my list of the ten worst songs ever conceived.
Look. Any objective reading of history will tell you that the truly seminal one-time events of the 60’s were JFK’s assassination and The Beatles’ first appearance on The Ed Sullivan Show. The definition of ”seminal” is “strongly influencing future developments,” and those events created massive change, for evil or for good. Monterey Pop opened up another distribution channel for rock music, period. Woodstock didn’t change dick except account balances for the promoters. Some 60’s movements produced change, but the big events associated with those movements didn’t change shit. Change usually takes time, and a single event simply doesn’t have that much power or significance. The 60’s were full of big events, but when you follow the path that leads away from the event, you usually wind up nowhere. What did Kent State produce? A shitty CSNY single and a landslide for Richard Nixon.
I don’t know if Eric Burdon really cried to Ravi Shankar’s music, but I’ll bet Ravi didn’t cry even after Eric mangled his name to Shank-nar. Ravi had no reason to cry because he was the only musician who performed at Monterey who insisted on being paid for his performance. How fucking spiritual of him.
“Anything”: This is the song that Eric Burdon is most proud of writing. Uh-uh. Okay. Better not say . . . anything.
“Sky Pilot”: This opus had to be split into two sides on the 45 due to its length. The “sky pilot” is the army chaplain, a job whose existence defies reason and logic. I’ve always felt that the concept of “Christian Soldiers” is the ultimate oxymoron, and for a man of the cloth to accept a job in the military makes no sense to me at all unless you believe in predestination and are just playing out the string. The theme of “Sky Pilot” is this fundamental contradiction and the inevitable test of faith involved in choosing to serve in such a position. Although the lyrics are sometimes clumsy and the grammar atrocious (“only time it will tell”), it’s a compelling performance from the a cappella opening to the clinching line, “Thou shalt not kill.” I particularly like the strings here, especially in the passage before the last verse.
“White Houses”: One of the most underrated songs in their catalog, this Eric Burdon composition features the usual grammatical difficulties as he twists syntax to create rhyming lines (“Soon another life it will bring”), but is saved by a solid groove and a playful lead vocal. The theme of the song is “look at reality, people!” and as we continue to ignore the presence of poverty a few miles from our doorsteps and accept the daily bullshit fed to us by politicians and media, the message retains its relevance today.
“Spill the Wine”: Ironically, a band named War was created with the intent to spread peace and brotherhood. The original mixed racial-cultural lineup, from which the fairer sex was excluded, certainly met their brotherhood goal, she said snarkily. Sexism aside, War proved to be a very solid funk band that carries on to this day. They allowed a woman into the band in the late 70’s, to their credit.
“Spill the Wine” is certainly one of the most distinctive pieces ever to land a spot on the higher reaches of the charts. The carefree Latin beat enhanced by splashes of flute and a woman speaking in Spanish (Eric Burdon’s girlfriend) provides a much more interesting background for this largely spoken word piece than the programmed beats of rap and hip-hop. The dream state of the song allows for fanciful lyrics that celebrate the amazing beauty of women of all shapes and sizes (appropriate) but goes no further than validating their status as one of the many pleasures available to men (bullshit). Confident in the innate superiority of my gender, I can ignore the slings and arrows of ignorant males and enjoy this fresh and exciting piece of music.
As with the comparison of The Dave Clark Five to The Beatles, The Animals lacked the catalog depth of their leading competition, The Rolling Stones. They stuck with covers and Brill Building songs far too long and never really developed into accomplished songwriters as did Jagger and Richards. Those who survived after the Invasion had petered out possessed two qualities that made all the difference: the ability to write great songs and a sense of curiosity that led to the exploration of new possibilities in rock music. While that was certainly no guarantee of continuity, the artists who lacked those two qualities really had no chance at all.
Eric Burdon and The Animals did leave behind several songs that have an undeniable place in the history of rock music. While they may not have been as accomplished as some of their contemporaries, they gave us some great tunes that have stood the test of time. That’s more than you can say about Dave Dee, Dozy, Beaky, Mick or even Tich.