Lex on Adam Ant (Adam and the Ants, solo)

•November 3, 2009 • Leave a Comment
Kings Of The Wild Frontier.

It must have been late ’80 or early ’81 when I first saw the video for “Antmusic” by Adam and the Ants.  I was up on a Friday night watching video show with my aunt Ava when we saw it.  I remember being really taken by the percussion and the great guitar sound.  Adam’s persona at this point was that of a English-pirate-come-native-American-Indian, with a voice that contained a dramatic yowl like a classic Hollywood movie injun.

Of course, Ava fell in love with Adam Ant.  She spent the next year and a half collecting English imports of “antmusic.”  After purchasing a single of “Antmusic,” she decided to invest the 7 bucks to own a copy of the US pressing of Kings Of The Wild Frontier.  What a great album!  Once Ava had the music from the album engraved in her song vocabulary, I spent a few weeks listening to it.  It was some of the first “then” current modern music that I really liked.  It wasn’t the boring Top 40 stuff, and it was more recent than the soon-to-be-labeled “classic rock.”

Kings of the Wild Frontier made me realize just how important drums are to a really rockin’ song.  Dig the title track, as well as the album’s kick-ass opening track, “Dog Eat Dog.”  It was musical, different, and propelled by this a really rockin’ Burundi drum rhythm that sounded like “Native American big band.”  His co-writer and lead guitarist Marco Pirroni had a sound that was at once both snarlin’ and twangy like 50s  guitar guru Duane Eddy.  The sound of songs like “Press Darlings” and “Feed Me To The Lions” were just right for my young ears.

Sidebar:  My favorite from the album was a pirate-themed tune called “Jolly Roger.”  This song is like a New Wave sea chantey, and I love the lyrical interplay, as well as the vocals.

Okay, so I didn’t dig the second album, Prince Charming, as much as anyone did.  But I did love the track “Stand and Deliver.”  There was something that sounded playfully sinister.  In the role of an English highwayman, Adam does a “roadside jack” and sings about how the experience will stay on the minds of his victims.  The accompanying video was also fun to watch.  The costumes and pistols were just too cool.

Another sidebar – Yes, there were some hot girls with inconsequential roles in the video, but whatever.  They were good to look at, too.

I remember waiting with my mom outside the Greek Theater in L.A., waiting for Aunts Ava and Angie (who, by now was another Ant person).  They had purchased tickets to see Adam and the Ants tour the Prince Charming album.  I stood there and heard the last strains of an encore, then the shrieks and screams of hundreds of teenage girls.  I have to admit, that experience changed me.  It made me want to be a rock star.

So, Adam releases his first solo album.  Friend Or Foe, in my opinion, ties with Kings as one of the defining musical moments of the 1980s.  With Friend Or Foe, the creative tiger is released and it’s smart.  Adam sounded like he was pissed off, but playful.  He comments about the paparazzi in “Goody Two Shoes” and “Desperate, But Not Serious.”  In the title track, Adam tells his fans and the world that they could love him, or leave him; he was gonna keep being himself. If you didn’t like it, tough.

Yet another sidebar – At the end of the day, my fave solo Ant track is “Friend Or Foe.”  It’s got all of the ingredients that make Adam an interesting musical study.  It’s got a hypnotic beat, a great guitar line that links the trumpet lines to the rhythm track, and a great message of strength through adversity.

November 3 marks the birthday of Adam Ant.  Thanks for some really great rock moments Adam.  I’ll never forget the cool videos, anticipating your albums, and collecting the English singles for the B-sides.  Hope it won’t be long until you release an new album . . . it’s been too long, man. Cheers.

(Lex Neon is also known as Alex Oliver, the quirky and often eccentric musical genius of “sunshine pop / rock” band Poppermost.  Check out their music and Lex’s rock rantings at http://www.poppermost.com/).

Note: Original release date of the ‘currently listening’ album below is listed as 1980.

Currently listening:
Kings of the Wild Frontier
By Adam and the Ants

 

Lex on Grace Slick (Jefferson Airplane)

•October 31, 2009 • Leave a Comment

“Somebody To Love.”

The song raced through my head as I reached out to shake her hand.  Royal and I had gone to an art gallery to see Grace Slick’s artwork, and to meet the woman in person.  Her eyes looked just like the hundreds of pictures and interviews that I’ve seen over the years.  At 69, Grace still had the beauty.  As I stood in the line of people wanting to talk briefly with her, I was nervous.

What would I say?

Back in the late 70s, documentaries on rock music were just starting to become the norm.  Invariably, the subject of the late 1960s rock scene was the topic, and “Somebody To Love” by the Jefferson Airplane would pop up in the soundtrack.  I don’t remember the first time I heard the song – it’s like it was embedded into my DNA.  I bought the re-issued single 12 years after it first appeared in early ’67.  Backed with “White Rabbit,” Grace’s signature song, I thought that I knew all there was to know about the woman and the band.

Not so.

As I got older and the music of the 80s grew more artificial with synths and electronic gadgets, I headed back to the music of the 60s and started collecting Airplane records.  After the “Somebody To Love” single, I purchased my first copy of the Airplane’s second album, Surrealistic Pillow. I was blown away by the material that appeared on that album.  Grace’s vocals were a large part of the sound that captured my ears.  Hers was the voice of a siren that shone brightly through the instruments and the two male vocalists.  Besides her soaring lead vocals on “Somebody To Love” and “White Rabbit,” check out her counter melody vocal lines on “D.B.C.A. 25,” and “She Has Funny Cars.”  And she sings wonderfully, and plays the recorder, on the beautiful and folky “How Do You Feel,” as well as the beautiful “Coming Back To Me.”

How cool is that? Only very, that’s all.

Grace was partially responsible for the experimental sound on the band’s next album, After Bathing At Baxter’s.  The album took some time to grow on me; it was a big departure from their first 2 albums, and was a purely psychedelic experience from the opening guitar wails.  I found Grace’s tunes “Two Heads” and “Rejoyce” were the perfect portals for me to go through to arrive at the heart of this album.  The following album, Crown of Creation, contained Grace’s wistful “Lather,” as well as my favorite Grace song of all, “Greasy Heart.”  Filled with her clever wordplay and a great vibe provided by the band, it struck a chord in my young musical mind.  I just could not stop playing it.

You are your own best toy to play with
Remote control hands
Made for each other
Made in Japan

Woman with a greasy heart
Automatic man
Don’t ever change, people
Your face will hit the fan

I am standing in front of Grace Slick!!!

After hemming and hawing, I said hello and stated out loud, “This is just too surreal for me.”  I told her that I wasn’t rich enough to afford any of her wonderful artwork yet.  I just wanted to tell her thanks for her inspiring work.  I told her that she inspired me to write, to sing, and to draw.  I stuck my hand out to shake hers, and was struck by the warm in her grip.  She smiled at me.

I walked away as giddy as a 14-year-old girl who just met an idol.  I grinned from ear to ear as I turned to Royal and whispered loudly “Wow, Grace Slick.”  And I do mean “WOW!”

Grace, if you should ever read this one day I just want to say that I’m getting closer to buying my favorite pictures from the night my friend and I met you at your art show in Vegas.  The full impact of the distinction between idol and friend registered when I viewed your painting and drawings.  I realized then that some of your art subjects are not just my musical idols; they are your friends and your history.  Please keep being creative as long as you can.  You may not want to sing anymore; that’s fine.  You inspire in more ways than one.  Thank you.

(Lex Neon is also known as Alex Oliver, the quirky and often eccentric musical genius of “sunshine pop / rock” band Poppermost.  Check out their music and Lex’s rock rantings at http://www.poppermost.com/).

Note: Original release date of the ‘currently listening’ album below is listed as September, 1968.

Currently listening:
Crown of Creation

Lex on Tom Petty (The Heartbreakers / Solo)

•October 20, 2009 • 3 Comments

“American Girl.”

Some of my fondest memories as a kid was getting out of bed on Saturday late nights, sneaking into the family room and catching a music show called The Midnight Special.  There, I could see the acts I heard on the radio, and maybe see a new artist or band.  In 1978, I saw a performance by Tom Petty and the Heartbreakers.  The song was “American Girl,” and I went crazy.  When I crawled back into bed at 1:30 am, I could not get the song out of my head.

The following year, after discovering songs like “Breakdown” and “Listen To Her Heart,” I saw a promo clip (later known as the “video”) of a cool tune called “Refugee” on the Merv Griffin Show.  I was galvanized by the power of the song.  It was nothing like the songs that permeated the musical landscape at that time.  It was so not disco, that it made me dance and feel alive. It became the first record I ever purchased by Tom Petty.

I remember Tom’s sold-out performances during his week-long stint at the L.A. music club that mattered most, the Whiskey Au Go-Go.  Of course, I asked my mom if I could go and see him.  Her stock answer I already knew by heart: “So you can be surrounded by long haired, pot smoking weirdos? No.”

It was around this time that I decided not to return to AM radio.  Didn’t matter.  Petty and his crew crossed over to FM in a big way.  His band and music became a main focal point for me.  They looked like they were always having fun on stage.  Petty would jump around, like he was trying his best to levitate off the stage and into the air.  He brought humor back to music.  His songs were instantly memorable, and full of life.  And when the “age of the video” came around when I was a teen, his videos were the ones that I didn’t mind seeing a million times (so much more interesting musically and visually than A Flock of Seagulls or Duran Duran).

As I have stated before, there were very few artists from the 80s that I really cared for.  Tom Petty and the Heartbreakers could always rely on me to pick up a copy of their latest work.  And their work usually had me inside of my bedroom, learning how to play their latest songs on my acoustic guitar.  I remember their live performance at Live-Aid during the summer of ’85.  I was having my first phone conversation with a girl (Julie . . . wow).  As soon as Petty and crew came on my t.v. screen, I cut the conversation short with the words, “I have to go now. Petty’s on. Can I call you back?”  I grabbed a videotape, threw it in and captured the performance.

And I never called the girl back.  I was “too busy” studying the performance.  She got mad, and found another guy to like.  I got my allowance and bought a copy of Tom’s then-current album, Southern Accents.

One of the best concerts I ever attended was a show on Tom Petty and the Heartbreakers’ Great Wide Open Tour.  I sat with my friend, Clover Club Larry, and enjoyed a wonderful night of music.  I’ll never forget the long encores.  Tom Petty invited a few of his friends to share the stage.  These friends? Jeff Lynne, George Harrison, Bruce Springsteen, and Ringo Starr.  I felt special to witness such a gathering of some of my heroes.  I still get goosebumps thinking about that night.  Wonderful.

The music that really captured a moment in time for me was his second solo album, Wildflowers.  At that time in my life, my mom was dying from ovarian cancer.  I would spend my time driving back and forth to the hospital, listening to a cassette copy in my car, crying.  Tom’s music gave me the strength to hold myself in check.  Emotionally, I was a wreck.  I knew that things weren’t going to be the same again, and I was scared.  My mom was my rock, and I was losing her.  Tom’s music reminded me that we must all keep moving, no matter what events shape your life.

Tom still makes great music, and I never miss a chance to hear his latest.  He is inspiring, and hero in every sense of the word.  Remember the public fights with his record company?  He took on the “big dogs” to restructure a horrible contract, as well as fighting them over the 9 dollar price tag for the band’s Hard Promises album at the beginning of the 80s?  That just wasn’t the norm in those days.  He’s championed musicians and music fans alike, and for that he deserves nothing but respect.

Tom, if you should read this someday, thanks for thinking about the fans.  Thanks for the great music, and thanks for showing us musicians who came later about ethics, integrity, and caring.  Damn the torpedoes!

(Lex Neon is also known as Alex Oliver, the quirky and often eccentric musical genius of “sunshine pop / rock” band Poppermost.  Check out their music and Lex’s rock rantings at http://www.poppermost.com/).

Note: Original release date of the ‘currently listening’ album below is October 19, 1979.

Currently listening:
Damn the Torpedoes
By Tom Petty & the Heartbreakers

Lex on Pat DiNizio (The Smithereens, solo)

•October 19, 2009 • Leave a Comment

Especially For You.

It was the 1980s, and I hated most of the then “uber-hip” Top 40 crap that I heard on the radio.  There were only a few bands that I thought were worth their weight and gold: R.E.M., the Police, U2, the Replacements, the Clash, and a few others.  It was a short, lonely list.  Aside from these bands, I didn’t hear too much of anything that could be called music.

And then I heard the Smithereens.

I don’t remember much about the first time I heard a song by the Smithereens.  Maybe it was the video for “Blood and Roses,” which appeared on MTV (when it was still “all music, all the time”).  It was enough for me to borrow a copy of their first full-length album, Especially For You, from Clover Club Larry.  At the time, Larry was known for his distaste for what he called “modern pop crap.”  He was ahead of the times and looked towards “alternative” music to feed his musical hunger.  So I borrowed his copy of the Smithereens’ album, took it home, and dropped the record player needle on the vinyl.

And I was hooked.

From the opening song “Strangers When We Met” to the end song “Alone After Midnight,” I heard something that was both simultaneously new and familiar.  There was something in the band’s collective soul that saluted the heroes that I admired from the 60s (the Beatles, the Who, the Kinks), but re-tooled for the modern musical world.  When I heard Pat sing “Crazy Mixed-Up Kid,” I thought that these guys were the musical saviors of my generation.  With other stand-out songs, like “Groovy Tuesday” and “Last Cigarette,” they made me believe that truly great songwriting and performance was not a thing of the past; it was still very much alive and breathing through their own music.

And Pat’s writing pushed me further into exploring the world of songwriting.

I learned most of the songs from Especially For You by ear.  I got to know the songs inside and out, and started copying Pat’s choice of guitar chords, his vocal style, and his knack for writing short, sharp, accessible power-pop tunes until I could find my own voice.  When I started working with kids at the Boys and Girls Club of Hollywood, I would bring in my guitar and play “Crazy Mixed-Up Kid” or “Behind The Wall of Sleep” for the children who’d dare me to pick up my acoustic and “play something.”

And I have to say, that “Behind The Wall Of Sleep” hooked me instantly.  I was forever falling in love with bass players who happened to be girls (a quick nod to Kathy Valentine of the GoGos – I still love you, girl!).  I understood.  I got it. And those lyrics hit me hard!

I continue to buy music by the Smithereens, and Pat’s solo stuff.  There is a craftsmanship in his writing that I cannot describe.  I can say that there is something in his voice, words and melodies that seem so effortless and direct.  Pat is one of the guys from my “awkward teen experience” that still resonates as clear as a bell.  Thank you Pat, for 25 plus years of amazing music and for the inspiration that ultimately culminated in me having the balls to find my own power-pop muse.  I love you, man!

(Lex Neon is also known as Alex Oliver, the quirky and often eccentric musical genius of “sunshine pop / rock” band Poppermost.  Check out their music and Lex’s rock rantings at http://www.poppermost.com/).

Note: Original release date of the ‘currently listening’ album below is listed as 1986.

Currently listening:
Especially for You
By The Smithereens

Lex on Paul Simon

•October 19, 2009 • Leave a Comment

Lex on Paul Simon
Current mood:  artistic
Category: Music

“Mrs. Robinson.”

It was ’79 or ‘early 80.  I was watching a rerun of the television show “One Day At A Time.”  A couple of the characters starting singing “Mrs. Robinson.”  I can’t explain the sensation I got when I heard the opening lyrics, “And here’s to you . . . ”  Somehow, I knew the words.  We didn’t have any Simon and Garfunkel in the family music library, so the song must have been in the banks of my memory.

On a weekend trip to Record Retreat, I scoured the 45 RPM single section and found a re-issue of the Simon and Garfunkel tune.  I paid a dollar and took it home.  I played it, and it was like I knew the song backwards and forwards.  After playing the song, I flipped it over and played the re-issue’s B-side.  It was a song called “Old Friends / Bookends.”  The sombre tone of the song, along with its really great orchestral backing, held me spellbound.

Turned out that Paul Simon had not only written these songs, but was also resposible for a couple of songs from my not-so-distant AM radio past.  I had heard “50 Ways To Leave Your Lover,” “Slip Sliding Away,” “Kodachrome,” and “Mother and Child Reunion,” but didn’t make any kind of connection between his solo material and the songs written while Paul was one half of what would become my favorite singing duo of all time.

The single of “Mrs. Robinson” prompted me to purchase other Simon and Garfunkel single re-issues, such as “The Sound of Silence” backed with “I Am A Rock;” “Bridge Over Troubled Water” backed with “Cecilia;” and “Fakin’ It” backed with an esquisite piece of rock poetry called “The Dangling Conversation.”  I was convinced – I had to have their albums.  I bought them one by one, starting with a greatest hits collection.  I played the vinyl until the surface of the record started to fade.  My tune, for the longest time, was one that Paul claims not to like very much, “The 59th Street Bridge Song (Feelin’ Groovy).”  It was short, poetic, and made me want to really learn how to play the acoustic guitar.

Such was my love of Paul’s music that I coaxed my friend (and school choir mate) Jason into learning the entire “Greatest Hits” album so we could sing the songs until I properly learned to play them on piano or guitar (whichever came first).  I must say that I really enjoyed singing with Jason.  He had a lovely high tenor that reminded me of Art Garfunkel’s own voice.

Around this time, Paul Simon had yet another solo hit with “Late In The Evening.”  Its funky, infectious rhythm and Latin horns had me dancing.  Paul was my guy, and for the first few years of learning to play the acoustic guitar, he was my inspiration.  I purchased the “Evening” single, plus his Greatest Hits, Etc. album.  Although I was probably too young for a lot of the mature themes in his songs, I was bowled over by the emotion conveyed in them.

Album after album, song after song, Paul made me want to learn to write music.  A lot of the songs I wrote in my early teens were based on Paul Simon’s songs.  Most of these “lost gems” were overly poetic, made little sense, and sounded a lot like the songs you’d find on those Simon and Garfunkel albums.  They were terrible, if you want to know the truth; but it was Paul’s songs that gave me the inspiration to write.  His words touched me, like those of Lennon and McCartney and Dylan.

The years have flown by, but I never lost the love that I found for Paul’s work.  Musically wonderful and lyrically brilliant, his work (both solo and with Garfunkel) has been a huge inspiration and influence on my life and my own work.  For me, he is the voice of “everyman;” his words and music a still life water color of a now late afternoon of my life, dreams, and wishes.  Thank you, Paul.

(Lex Neon is also known as Alex Oliver, the quirky and often eccentric musical genius of “sunshine pop / rock” band Poppermost.  Check out their music and Lex’s rock rantings at http://www.poppermost.com/).

Please note: Original release date of this album was April 3, 1968.

Currently listening:
Bookends

Lex on Bruce Springsteen

•September 28, 2009 • 2 Comments

“Thunder Road.”

That is the title of the first Bruce Springsteen song I ever heard.  Back in the day, the Los Angeles airwaves were a live with the sound of artists that were not only creating the soundtracks of life, but inspiring legions of young musicians to get serious about their craft.  Radio was all-transforming.

I’ve written before about 94.7 KMET, aka “the mighty Met of southern California.”  On the immediate right on the radio dial was 95.5 KLOS.  KLOS’s format was a more rigid than KMET’s, but they had great deejays.  And the station had a bitchin’ commercial – a thirty second spot composed of 2 second film clips of great rock bands, framed by the stations racing track logo.

The last clip in the commercial is of Bruce Springsteen, who is seen giving it his all at the lyrical end of “Thunder Road.” He screams into the microphone, as if his life depended on it:

It’s a town for losers
We’re pulling out of here to win!

When I finally saw the clip in its entirety a year or so down the road, the entire clip hit me hard.  I wanted to be Bruce.  I wanted to pick up a guitar and sound like that.  I wanted a band to make my music sound big and great, like his.  If you ever see this clip, you will “lose it” . . . completely!

My first Springsteen record was “Hungry Heart.”  I heard it on Top 40 when it was new.  I thought it was an “oldie” that might have slipped through the waves.  I only had to hear it once to want it; to own it for myself.  When I hustled over to Record Retreat, I asked the resident “music guru and hippie” Marshall if he heard of the song.  “Heard it?  Heck, I’ve been playing it all day.  Would you like that copy with or without the picture sleeve?”

I took that record home and played it so much that the vinyl started turning gray!

Weeks later, Bruce was in town playing the L.A. Sports Arena.  Like a bad television rerun, I once again asked my mom if I could go to a concert.  Very much like the requests to see Led Zeppelin, Queen, Pink Floyd, Fleetwood Mac and the Eagles, my request was shot down.  But in the following allowance I found extra cash that my mom gave me – to buy Bruce Springsteen’s then-current album, The River.

Bruce-mania was in full effect in Los Angeles, and I had my souvenir album, which I played . . . well, until the vinyl turned gray!

I would finally get to see Bruce Springsteen and the E. Street Band during the fall of ’85, when Bruce was winding up his Born In The USA tour.  And for this great occasion, I was lucky enough to have fellow Bruce “head” Curt with me; he won tickets from KLOS, and invited me along.  What a long show!  Three and a half hours of relentless rock from “the Boss.”  Only one complaint – the band didn’t play “Rosalita” that night.  They played it the following night, for which Curt won another pair of tickets.  To be fair, he took his then-girlfriend.  Was I jealous? You bet I was!

Over the years, Bruce has turned out extraordinary music.  And like all of the greats before him, he followed his artistic muse.  Sometimes the music wasn’t that “commercial.”  Sometimes it was the sound of a man growing up, growing older, and taking his fans down musical paths where very few artists are willing to go.  Happy birthday, Bruce.  You still mean the world to me.

(Lex Neon is also known as Alex Oliver, the quirky and often eccentric musical genius of “sunshine pop / rock” band Poppermost.  Check out their music and Lex’s rock rantings at http://www.poppermost.com/).

Lex on Barry Gibb (The Bee Gees)

•September 1, 2009 • Leave a Comment
I used to make fun of the Bee Gees.

In the late 70s, it was easy to imitate and poke fun of Barry Gibb’s high falsetto.  It didn’t care that I pissed off my aunt Angie, who was (and still is) a devoted Bee Gees fan.  They were, after all, not the Beatles.  Angie played the soundtrack to Saturday Night Fever with absolute fervor.  While she danced and sang along, I imitated Barry and Robin, and scorned Maurice (the one that looked “funny”).  I hated disco, and that’s what they represented to me.

At some point during their heyday, they issued a double live album.  Alongside their more contemporary hits, they performed some older material that struck my brain in a funny way.  These songs included “New York Mining Disaster 1941,” “Gotta Get a Message to You,” “Run to Me,” and “Massachusetts.”  All of a sudden, I wasn’t imitating them anymore.  The songs got me right in the heart, as if I’d heard them before.

Suddenly, there was an album in Angie’s collection called Gold, which covered 60s Bee Gees’ pop song brilliance.  Songs like “Words” and “World” oozed from the speakers, and I couldn’t get enough.  The song that floored me then (and still does to this day) is “To Love Somebody.”  Barry wrote this after meeting with one of his idols, Otis Redding.  The Bee Gees’ manager told Barry to write a song for Otis to perform, and Barry’s response was this classic pop tune.  I still get goosebumps thinking about the first time I heard this song in its entirely.

So, for a while, I could tolerate 60s Bee Gees, and the soundtrack they provided for the Alan Parker film Melody.  There is something heartbreaking about Barry’s “First of May” that makes you want to cry.  His “Give Your Best” is one of the most fun songs to listen to; it reminds me of old friends and the folly of being young.

But that didn’t stop me from loathing the whole disco era Bee Gees phenomena – until Clover Club Paul showed me the light.

On a trip to his house to get more gear for a Clover Club jam session, Paul played “How Deep Is Your Love” in his car.  I groaned aloud, something to the effect of “Man, not this.  Why this?”  While waiting for our red light to go green, he said, “Listen to that clean, simple production.  The melody stays in your head when you’re not thinking about it.  The vocal harmonies are inventive and crisp.  How can you not like this song?  When you get a chance, listen to it as a piece of music, not as disco.”

Paul, of course, was right.  I bought the sheet music and discovered that it was inventive, and a complete bitch to learn (it took me weeks to figure it out).  Once I did, I couldn’t stop playing it because it was fun.  I played it on acoustic guitar at some shindig my ex-girlfriend dragged me to, and the girls at the party could not get enough of that song.  Seems that girls really dig love songs for some odd reason.

Not long ago, I purchased a DVD called This Is Where I Came In, which documents the Bee Gees’s history from the late 50s onward, just before Maurice’s untimely death.  I guess the old saying is correct; it’s never too late to learn new lessons.  I learned that making fun of my aunt Angie’s beloved Bee Gees was just ignorance on my part.  I also learned that Barry Gibb and his brothers provided a soundtrack for millions of people for decades.  Not many artists can claim this, but it holds true for the brothers Gibb.  I learned that there are road maps to greatness buried in their songs.  Every songwriter should study the writing of Barry Gibb.

Thanks, Angie!  I will still send you original 60s and 70s Bee Gees vinyl when I locate them.

Happy birthday, Barry.  It finally came into focus for me, but it took 30-plus years to realize that you’ve been a part of the soundtrack of my life all of this time.  Your songs are awe-inspiring and classic.  How would you like to work together on a song sometime?

(Lex Neon is also known as Alex Oliver, the quirky and often eccentric musical genius of “sunshine pop / rock” band Poppermost.  Check out their music and Lex’s rock rantings at http://www.poppermost.com/).Readers:  Be advised that Best of Bee Gees was originally released in June 1969

Currently listening:
Best of Bee Gees
By The Bee Gees