Pop Memories

Bob Lind was an American singer song writer who briefly appeared on the scene in 1966 and in certain limited respects sounded like a precursor to Don Mc Lean.  He had the ability to write very interesting pop tunes with poetic - and sometimes - baffling lyrics.  The best of these were often to be found on the B sides of his singles e.g. "Cheryl's Goin' Home", "Truly Julies's Blues" and "We May Have Touched".  Another outstanding song and performance is "Spilling Over" (where his voice does indeed sound like Don McLean!)   However it is "Elusive Butterfly" for which he will always be known. This is simply a wonderful song - and still one of my favourites - with a truly magical lyric of poetic reverie. This for me perfectly "encapsulates" the truly fleeting nature of romantic love.  Sadly for Bob his own encounter with fame was to resemble the elusive butterfly of his song as he quickly became consigned to that unenv

The Carpenters (more correctly, Carpenters) surely deserve a unique place in the annals of pop music. The group comprised the brother and sister duo, Karen and Richard Carpenter who both were gifted with very special talents. Of course Karen is the one we nearly always hear on record with that pure, clear wonderful singing voice that perhaps remains unmatched by any other female performer. Though not especially gifted singing wise Richard was a bit of a musical genius who wrote (with John Bettis) some of their best songs and was chiefly responsible for the truly superb production values of their recorded albums. Their first album - initially titled "Offering" - contained their cover of the Beatles' "Ticket to Ride". Though sung in a slow tempo not really in keeping with the original, it displays well the remarkable quality of young Karen's voice. Though this was their first single release and proved a minor hit the album contains a few superb tracks that

There was an interesting programme featuring Joan Baez on BBC TV last night. It was fascinating to watch again her early appearances in Club 47 in Cambridge, her collaborations with a young Bob Dylan, and her very public stance as a political activist (esp. as supporter and friend of Martin Luther King). Looking at the concert footage is compelling as one sees a truly beautiful young woman with a unique guitar style and singing voice flawlessly presenting a large repertoire of the "old" folk songs. However on the critical side, perhaps these performances were just a little too perfect leading to the material acquiring a certain off-putting similarity. Ironically though her meeting with Dylan is credited with inspiring her with wonderful "new" songs, somehow even these started to sound like the "old" when given the familiar Baez treatment. I instinctively felt this reservation about her performances - even back in the early 60's - which prevented me fro

Cat Stevens (or Yusuf Islam as he is now called) appeared in the O2 in Dublin recently to receive a somewhat mixed reception. I cannot say that I was ever a huge fan of his though I did respect the fact that he was - at his best - a superb songwriter. When he burst on the scene in the late 60's with a somewhat overproduced sound he was hailed as a great new talent (in the singer/songwriter genre). The gimmicky - though hardly great - "I Love My Dog" was quickly followed by "Matthew and Son" and the rather similar sounding "I'm Gonna Get me a Gun". These were included on his 1st album (which not surprisingly was also a hit). Then he seemed to quickly fade from view releasing another overproduced album (like its predecessor) that attracted little notice. However this contained what perhaps was his best - and most commercial - recording "The First Cut is the Deepest" which oddly did not receive at the time the attention that it clearly w