My track-by-track tales follow the bare-bones list and are also on my Facebook page.

So Old It’s New archive

1. Elton John, Have Mercy On The Criminal
2. Black Sabbath, Falling Off The Edge Of The World
3. Steppenwolf, Renegade
4. Bad Company, Painted Face
5. Warren Zevon, Roland The Headless Thompson Gunner (live, from Learning To Flinch)
6. The Tragically Hip, Fight
7. Roxy Music, My Only Love (from Roxy Music Live, a document of the band’s 2001 reunion tour, released in 2003)
8. The Beach Boys, I Know There’s An Answer
9. Frank Zappa, Dumb All Over (previously unreleased live version of the You Are What You Is studio track from 1981, issued on the 1997 compilation Have I Offended Someone?)
10. John Lennon, Well Well Well
11. Pete Townshend, I Am An Animal
12. The Rolling Stones, Too Tight
13. Chicago, Devil’s Sweet
14. Tom Waits, Shore Leave
15. The Butterfield Blues Band, Driftin’ And Driftin’ (from The Butterfield Blues Band Live)

My track-by-track tales:

1. Elton John, Have Mercy On The Criminal . . . Yet another deep cut from EJ’s 1970s heyday that essentially made all or most of his studio albums hits compilations. It’s from 1973’s Don’t Shoot Me I’m Only The Piano Player which yielded the hit singles Daniel and Crocodile Rock but is filled with great songs, like this one. Noted arranger, composer, conductor and longtime Elton John collaborator Paul Buckmaster handled the orchestration on a song that starts with a dramatic, fast flourish before settling in to a ballad painting, via Bernie Taupin’s lyrics, a picture of an outlaw on the run.

2. Black Sabbath, Falling Off The Edge Of The World . . . I went down the internet rabbit hole the other day when an article popped up in my feed listing what the author thought were the best Sabbath songs from the Ronnie James Dio on lead vocals era. This song, from 1981’s Mob Rules album, Dio’s second with Sabbath after 1980’s Heaven And Hell, was on the list and I agree. A moody, atmospheric opening builds the tension that you know is going to soon explode, as it does, into a full-throttle hard rock/metal assault.

3. Steppenwolf, Renegade . . . A brooding, bluesy autobiographical track about Steppenwolf leader/singer John Kay, then age 4, and his mother’s 1948 escape to the West from the Soviet occupation zone in Germany, where Kay was born. It’s from the album Steppenwolf 7, released in 1970.

4. Bad Company, Painted Face . . . Funky boogie from 1982’s Rough Diamonds album. It was the last studio album from the original Paul Rodgers-fronted Bad Company lineup that also included guitarist Mick Ralphs, drummer Simon Kirke and bassist Boz Burrell. Rodgers later returned, off and on, in various later configurations of the band for tours and to record four then-new songs for the 1999 original lineup reunion compilation The ‘Original’ Bad Co. Anthology.

5. Warren Zevon, Roland The Headless Thompson Gunner (live, from Learning To Flinch) . . . Live albums aren’t everyone’s cup of tea and while I generally prefer studio versions of songs, I do like concert albums because they can obviously go down entirely new avenues as artists may rearrange or otherwise adjust and adapt their tunes. This version of the track originally on Zevon’s 1978 breakthrough album Excitable Boy (which featured the hit single Werwolves Of London) is a perfect example. Learning To Flinch, released in 1993, is from a solo acoustic world tour Zevon did in 1992, just him on guitar, keyboards, harmonica and vocals. On Roland, he takes what was a shade under four-minute studio track and reworks it into an 11-minute haunting epic. It starts with “Roland Chorale”, an instrumental intro that merges into a familiar yet, in Zevon’s voice and piano playing, transformed yet still-recognizable song about his fictional mercenary.

6. The Tragically Hip, Fight . . . I had the Hip on my list of artists I hadn’t played in a while so here they are, finally, again prompted in some measure by a discussion about the band I had with a friend last week. Fight is from the classic 1991 album Road Apples. It’s a bluesy groove tune with lyrics to which anyone who’s been in a relationship can relate.

“We wake up different, rifle through our dreams
Another placid day ripples at the seams
Do you think I bow out ’cause I think you’re right
Or ’cause I don’t want to fight?
Do you think I bow out ’cause I think you’re right

“We lay down seething, smell our pillows burn
And drift off to the place where you’d think we’d learn
Do you think I bow out ’cause I think you’re right
Or ’cause I don’t want to fight?
“Do you think I bow out ’cause I think you’re right
Or ’cause I don’t want to fight?
Oh, go ahead and fight
I give, oh, I give, I said, I give”

7. Roxy Music, My Only Love (from Roxy Music Live, a document of the band’s 2001 reunion tour, released in 2003) . . . Extended version of a song originally on 1980’s Flesh And Blood studio album. It’s a terrific live album with, on this track, Phil Manzanera’s expressive guitar solo near the end leading into a showcase, as lead singer Bryan Ferry cedes the stage, for the vocalizations of backing singers Sarah Brown, Yanick Etienne, Michelle John and Sharon White. It’s reminiscent to me of Clare Torry’s performance on Pink Floyd’s The Great Gig In The Sky.

8. The Beach Boys, I Know There’s An Answer . . . From Pet Sounds, the 1966 album that, by most accounts, inspired The Beatles to produce their Sgt. Pepper album, released in 1967. I Know There’s An Answer was originally titled Hang On To Your Ego but objections arose within the band as to lyrics referring to drug culture, so it was rewritten although Hang On To Your Ego has appeared as a bonus track on various reissues of Pet Sounds. Musically, the song features an unorthodox structure driven by myriad instruments including guitars, tambourine, piano, banjo, clarinets, flutes, electric keyboards, timpani and harmonica.

9. Frank Zappa, Dumb All Over (previously unreleased live version of the You Are What You Is studio track from 1981, issued on the 1997 compilation Have I Offended Someone?) . . . A typically scathing Zappa social commentary punctuated by an incendiary guitar solo.

10. John Lennon, Well Well Well . . . Grungy guitars from well before ‘grunge’ was a musical genre, spare production, raw, primal scream therapy vocals, all from the harrowing, personal, Plastic Ono Band album, released in 1970. Hugely influential album on my impressionable young mind, musically but particularly lyrically in the songs God and Working Class Hero, both of which I’ve played before on the show and inevitably will return to.

11. Pete Townshend, I Am An Animal . . . . An introspective song from 1980’s Empty Glass, featuring the immortal line “I will be immersed, Queen of the fucking universe.” A terrific hit album full of great songs that prompted Who singer Roger Daltrey to suggest that Townshend was by that point saving his best stuff for himself or, at least, spreading himself too thin in terms of providing material for the mother ship band. The counter to Daltrey’s argument would be that Townshend’s songs can be intensely personal and even as far back as 1975’s album The Who By Numbers, Daltrey was reluctant to sing songs like However Much I Booze – lead vocals by Townshend – since they were so clearly tales of Townshend’s travails.

12. The Rolling Stones, Too Tight . . . The kind of energetic riff rocker the Stones seem to be able to toss off in their sleep, which isn’t a criticism by any stretch. It’s another indication of their innate songwriting abilities resulting in deep cuts like this, from 1997’s Bridges To Babylon album, that many bands would love to have as a single.

13. Chicago, Devil’s Sweet . . . Some have compared this 10-minute instrumental jazz-rock fusion piece from Chicago VII in 1974 to Weather Report with slices of Miles Davis, Santana and Soft Machine. It’s all of those things in at least some measure but really, it’s simply Chicago in their early glory days of inventive, experimental energy, this time propelled by shifting time signatures and Danny Seraphine’s great drumming. A universe away from the schlock show, albeit a commercially successful schlock show, they later became.

14. Tom Waits, Shore Leave . . . Surreal, percussive, almost industrial sounds on this noir-like track from 1983’s Swordfishtrombones album. And that’s just the music. Lyrically, we follow . . . No, check that, we ‘see’, through Waits’ words, a sailor on shore leave through various encounters in, apparently, Hong Kong while “trying to make it all last, squeezing all the life out of a lousy two day pass.”

Someone on YouTube summed it up nicely: “A movie in 4:16” (the song time).

15. The Butterfield Blues Band, Driftin’ And Driftin’ (from The Butterfield Blues Band Live) . . . Live version of a track originally on the third Butterfield Band studio album, The Resurrection Of Pigboy Crabshaw, released in 1967. By the time of The Butterfield Blues Band Live’s recording at The Troubador in Los Angeles in early 1970, Pigboy (guitarist Elvin Bishop’s nickname) had left the band which now featured a four-man horn section with Ralph Wash on guitar. The group had evolved into a blues outfit with jazz and R & B chops ranging all over the musical map. It’s compelling stuff, led always by Butterfield’s singing and harmonica playing which is well described in liner notes.

“His mix of amplified and acoustic work on Driftin’ and Driftin’ show how he could capture and enthrall an audience with his emotive style; his instrumental is a mini-history of the blues harp, not only calling to mind Butterfield’s mentor Little Walter but Sonny Boy Williamson, Rice Miller (aka Sonny Boy Williamson II) and others. However it is never the work of a copyist. It is always the immediately recognizable sound and style of Paul Butterfield.”