William Clouston's Playlist
From punk drummer supporting the Undertones to SDP Leader - a natural progression
Here it is, William’s playlist, as diverse and surprising as you’d expect. One day there’s going to be a big Long March pub night, where we’re going to be playing this stuff. Until then, there’s youTube. Over to you, William. . .
Hanging on The Telephone - Blondie. Let’s start with the perfect new wave single - wrapped up in 2 minutes 14 seconds! Note Debbie Harry’s groughness right at the end. Sublime.
Trois Pièces Nègres Pour Les Touches Blanches (II Siesta) - Constant Lambert (1949). An obscure and sad piece by an interesting English composer whose son Kit Lambert was manager of the Who (see below). I first heard this piano duet on the radio about 20 years ago and it took me over a decade to find a decent recording. As the title indicates, it’s a little black but it’s beautiful and has space. Lambert is a master of the chordal descent - a theme he plays with throughout. I spent hours adapting/interpolating this for solo piano during the 2020/21 lockdowns. By 2022 my wife was heartily sick of it but, for me, it never loses its charm. I’d defy anyone who is prepared to listen to this seriously not to be mesmerised by it.
Cut My Hair - The Who (1973). I thought hard about which Who track to include. This has everything… musical complexity, the intermittent power which was the band’s hallmark, Entwhistle’s horn arrangements and Keith Moon characteristically rolling all over the vocals (no other drummer did this). The bridge is also good. 10/10. ’I clean my room and my shoes but my momma found a box of blues…’
It Never Entered My Mind - Miles Davis (1956). I’ve enjoyed jazz for a long time but it’s become something of an obsession over the past 15 years or so. In fact, I now listen to little else. This is a fine example of west coast cool. Davis drags throughout - deliberately behind the already slow pace of the song - and is conspicuously off-pitch early on. That’s what ‘cool’ trumpeters do… Davis, Chet Baker… they drag. A brilliant melody by the American composer Richard Rodgers.
My Foolish Heart - Bill Evans (1964). Bill Evans’ delicate touch on Victor Young’s composition from 1949. Best of type.
Who Can I Turn To? (When Nobody Needs Me) - Anthony Newley (1965). A thoroughly sentimental piece from the 1964 musical ‘The Roar of The Greasepaint The Smell of the Crowd’. Echoes of Charlie Chaplin in Newley’s performance…
DOO-WOP SECTION:
Three beautiful songs which use the same four chord structure in different ways. Try singing Buddy Holly’s ‘Dream’ over the Crowded House chorus…
This Boy - The Beatles (1963).
Don’t Dream Its Over - Crowded House (1986).
Maybe Tonight - Nicole Atkins (2009).
Don’t Pay Them No Mind - Nina Simone (1967). I love this song. Nicely produced and unhurried with some subtle understated guitar playing (although we could probably do without the strings… fashionable then…). A beautiful melody written by Bobby Scott - a jazz musician better known for co-writing ‘He Ain’t Heavy, He’s My Brother’ (I think you can hear elements of that song here).
Bring It On Home - Led Zeppelin (1968). A desert island ‘best in class’ example of 12-bar blues. Written by Willie Dixon, this offers pretty much everything Led Zep had… Page’s scratchy Les Paul, JPJ’s uncomplicated bass playing, Plant’s piercing vocals and harmonica early on and Bonham’s characteristically solid drumming. They also do something which is more common in jazz - show a little, belt it out and then pull things back to where they started. Play loud. Very loud.
Between You And Me - Graham Parker (1976) . Michael included a Graham Parker song… so here’s my reply… How this former petrol pump attendant from Chalk Farm can sound so authentically American only he knows. Anyway, this track is a favourite and interestingly, it was a demo which was considered so good it was included on his debut album in 1976 without being re-recorded.
Left For Dead - UK Subs (1980). A classic punk track finished off in just over 1 minute which encapsulates the energy and aggression of this art form. Punk… I played in punk bands for about a decade and supported the UK Subs, The Members, The Vibrators and The Undertones among others. By the time I quit I calculated that I’d hit the snare drum over 1.5 million times… which, surely, is enough…
Fix It - Ryan Adams (2008). Probably the best ever use of an F chord… what’s not to love? Also, technically about as good a sound as you can get from the modern rock format: two guitars, keys, drums and bass set up. A+
Don’t Believe A Word - Thin Lizzy (1979). Lizzy at their best. All great bands have a sound and two lead guitars in harmony, along with Lynott’s plectrum plucked bass is theirs. The slow start makes this the best version of this song and Gary Moore adds to it. Which brings me to…
another band with two lead guitarists…
Everything Is Wrong - Gigolo Aunts (1999). This is what you get when a rock band knows what it’s doing…
The Hold Steady - Chips Ahoy (2006). Brooklyn’s The Hold Steady - the best live pub band in the world - are a cross between Springsteen and Thin Lizzy. I’ve followed them for years and have the ringing ears to prove it…