Do what you do, don’t bring me down

I was driving down the San Diego Freeway, sun in my face, the interior of my car still cold from sitting outside overnight, listening to Deep Tracks.

They played that Manassas track "Right Now"…  This is the quintessential Stills, not the debut which got all the hoopla.  Buy this double album.

Then "Dig A Pony".  "Let It Be" will never be a throwaway for me because of "I’ve Got A Feeling", but I can’t imagine being a deejay and selecting "Dig A Pony" to play on the radio.  I thought of switching the channel.  But I ended up zoning out and enjoying it.

You know how driving is.  You’re going along at 70, checked out, almost asleep.  But somehow, your synapses fire and get you to brake, swerve, in case something untoward occurs.  Ah, the human body, what a machine.  Not built by Toyota, but GM.  Works great when you buy it, it’s just as you get older it starts falling apart.  The mind says yes, but the limbs say no.

But I’m still functioning.  Old age has not yet caught up with me.  And I hear something…  It’s an intro.  A couple of strums of an electric guitar, a whistle and a few drumbeats.  I’m drawn in, like they’re giving away a million dollars in the dashboard.  But this is better than money, this is quite clearly "All I Want To Be (Is By Your Side)".

We played these records so much we know every nuance.  We can name them BEFORE the tune begins.  But then Mike Kellie hits the drums and Peter Frampton begins to wail.

Yes, I looked it up.  I’ve still got my original 1972 vinyl album.  I bought it because I was so impressed with Peter at the Fillmore East, on Humble Pie’s farewell tour (at least with Peter).  I saw it in a bin in London.  But didn’t buy it until I got back to the U.S. that fall.  And I seemed to be the only one.  Oh, other people bought "Wind Of Change", but I didn’t know them.  There was no Facebook, no social networking.  We didn’t find other fans of the band until we went to the gig.

At first my favorite was the opener, "Fig Tree Bay", slow and enticing.

I didn’t understand the cover of "Jumping Jack Flash".  It seemed superfluous, especially since Frampton had no problem writing his own material.

But it was the second side opus that entranced me, that made me a fan.

Yes, "All I Want To Be (Is By Your Side)" opens side two.  The second side opener was never the single.  Unless an album contained two.  It was always a statement.  Of where the artist was coming from.  The first side opener was for the label, the manager, the second side opener was for the artist.

"All I Want To Be (Is By Your Side)" is six minutes and twenty five seconds long.  But it plays like 3:30.  It starts with the verses, then drifts into instrumental territory and builds and builds.  Kind of like "Layla", if the second half of that Clapton classic wasn’t blissed out.  Yes, both halves of "All I Want To Be (Is By Your Side)" definitely hung together, were of a piece.  As if you went to dinner with someone and found yourself drifting in a boat down a river thereafter.  There might not be tangerine trees and marmalade skies, but the feeling of euphoria was the same.

And I’m listening to "All I Want To Be (Is By Your Side)" in the car just now and I hear something, that I’ve never noticed before. The way the guitar notes have this funny way of sticking together, they’re not separate, they’re fluid, not drops, but an endless pour with staccato elements.  The track is almost forty years old, yet brand new.

And then it starts accelerating towards the end.  That ride on the river is going to end.  We’re going to tie up the boat.  Please no, NO!  But Frampton and his buddies are not done, for the final thirty seconds they flourish, like your love winking at you before she walks up the dock and evaporates.