YouTube Discoveries: Bo Diddley, New York Dolls, David Johansen–“Pills”

So I was in Bis.Co.Latte this afternoon, you know, the fab coffee/biscotti shop around the corner that I frequent, run by fellow ex-music bizzers Holly and Antone DeSantis, enjoying a cardamon (or is it cardamom?) apricot oatmeal, and what should come on but Bo Diddley’s “Pills”!

Odd little record, I always thought. I mean, no hospital I was ever in had a rock ‘n’ roll nurse giving me pills and shots that “went to my head, to my head, while I was laying in my hospital bed.”

The New York Dolls did a wonderful version of it on their classic self-titled 1973 album, and I discovered this great vintage clip:

Such a great fucking band! David Johansen still does it, now with Buster Poindexter, or just with longtime collaborator Brian Koonin. Here they are at Lincoln Center Outdoors in 2010. He always turns it into a fun singalong. If you pay close attention, you’ll hear me singing there with the rest.

Nursie! Nursie!

Concert Highlights–Colin Blunstone at City Winery, 5/13/14

Every song Colin Blunstone sings live is a concert highlight—which is my cop-out way of saying that I got to his Tuesday night show (May 13) at City Winery late after Tammy Faye Starlite’s Broken English/Marianne Faithfull presentation at Joe’s Pub, then spent most of it standing in the back hearing it with one ear, the other catching up with old friend Deb Hastings.

I can tell you that “What Becomes of the Brokenhearted,” which he was singing when I walked in, was a revelation. But you knew that.

Same with “I Don’t Believe in Miracles,” which ended with a high note held long and steady, Blunstone exuding a joy in singing rarely seen—Tony Bennett coming to mind.

“That’s the difference between falsetto singing and singing in full voice,” said Deb, Bo Diddley’s longtime bassist/bandleader, whom I’ve known since she was my photographer at the Madcity Music Sheet in Madison, Wisconsin, many eons ago.

The only other singer I knew that can approach Blunstone in this or any regard, I told her, is Howard Kaylan of The Turtles. I then related how several years ago The Zombies and The Turtles were on the Hippiefest bill and shared the same dressing room trailer at Coney Island.

Old friends with The Turtles and friendly with The Zombies, I stood back and took in maybe the most relaxed and fun backstage scene I’d ever witnessed: Here were two bands who’d done it all, one British Invasion, the other an American one that had followed shortly in its wake, both with historic hits—and both with extraordinary lead vocalists. Both were 40 years or so past their prime, yet you couldn’t tell the difference, eyes closed.

And when The Turtles played, Colin and Rod Argent watched from the wings. And when The Zombies played, Howard and Mark Volman did the same.

After The Zombies’ set, Howard came over to me, clearly overcome.

“I can’t do it now,” he said, gravely, “but toward the end of the tour, I’m going to tell Colin how much he influenced me.”

Now I was overcome. I mean, here was one of the greatest singers in the history of rock ‘n’ roll confiding in me how he was so in awe of another one of the greatest singers in the history of rock ‘n’ roll as to be unable to approach him without weeks of preparation.

Making it that much more compelling, for me, was the fact that up until this moment, I never saw the connection, realizing now how obvious it was and is.

Meanwhile, I did make note that Blunstone was singing “Any Other Way” at City Winery—accompanied by a fabulous acoustic guitar solo from Zombies guitarist Tom Toomey (Zombies drummer Steve Rodford was also in Blunstone’s band, which also included, during a brief interlude, a string quintet). He explained that the song, which he wrote, fit in with his preference for story songs.

“I love songs with story lyrics,” he said. “It makes it more interesting if you know the story in the song.”

He then introduced one from his new solo album On the Air Tonight, “So Much More.”

“This one is a deep, emotional, strip-you-naked type thing, about a person who was so courageous and inspirational, who arose out of awful trouble–and then it all went completely wrong and she married me! This song is for Mrs. ‘B.’”

And then he retold the wonderful story of his supernatural vocal quality, where he had learned “voice tricks” from his singing teacher, including “lifting from your pelvic floor” (or in less technical terms, “singing from your ass”), projecting one’s voice from the back of one’s neck, and, in a more arcane tip directed primarily toward female vocalists, presumably, singing “tits over shoulders, girls!”

These applied to specifically “Time of the Season,” which with “She’s Not There,” were the only two Zombies songs Blunstone sung. Closing with the latter, he bore out Toomey’s intro as “one of the greatest voices to come out of the U.K.”

And after being made aware of his effect on Kaylan, Blunstone, with all modesty, said, “He’s so wonderful.”