Phineas Luke is a guitarist who has released 5 CDs of instrumental music, 4 under his own name and 1 as part of a band, The HTs. The Phineas CDs are rock of various genres; the HTs are a blues-based trio.

           You can find samples of the music here, perhaps a little information about current doings, and a (very) occasional blog about musical obsessions.

 

All Swell That End Swell

Phineas Luke

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The third solo CD. 14 tracks, a total of 61 minutes. 1) A Sweet Desert Home 2) Happily Ever After 3) Chas Brown 4) What Who 5) Hoosier Daddy 6) Shape Shifter 7) Theresa 8) Scenes 9) Prague Rock 10) The Pirate Girl 11) A Cloudless Sky 12) Something Secret 13) All Swell That End Swell 14) A Swell Kid Phineas Luke: guitar, keyboards Alexis Sklarevski: bass Bruce Becker: drums Mike Mennell: bass on 4 and 11 Stewart Jean: drums on 4 and 11 Recorded by Marc Greene at The Greene Room

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The Way She Walks

The HTs

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13 tracks, including 4 covers. 48 minutes total. 1) The Way She Walks 2) Bossa Nova Watusi Twist 3) Babe/Saints 4) Gridlock 5) Cubano Jump 6) Things Ain't What They Used To Be 7) 32F 8) Quirky 9) FFF 10) Be Flat 11) Nightmare Blues 12) 'Taint Nobody's Bizness If I Do 13) Theme Phineas Luke: guitar Mike Mennell: bass Stewart Jean: drums Recorded and mixed by Glenn Nishida, at Pacifica Studios.

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Other Worlds

Phineas Luke

The first solo album. 14 tracks, a total of 49 minutes. 1) So Sent 2) Day: Dreaming 3) Peter Gunn's Less Successful Brother 4) Treeofscreamingbirds 5) Clouded Eye 6) Quiet 7) Kwik 8) Leave?Stay? 9) Here Comes Summer 10) Quartet Song 11) Farewell 12) Hiding In The Twilight 13) Dial Lompoc 14) CCC (Si!Si!Si!)

Phineas Luke: guitar, keyboard Alexis Sklarevski: bass Bruce Becker: bass

Guests: Pat Bautz: drums on 8,9, 11, 12 Brad Rabuchin; Guitar on 12

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Another Beast, Another Jungle

Phineas Luke

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The second solo CD. 14 tracks, a total of 54 minutes. 1) Water Fall 2) Heart On Sleeve 3) Reg. A 4) Dame In A Trenchcoat 5) West 6) Memory 7) Gone! 8) Core Value 9) Another Beast, Another Jungle 10) Relent Less 11) The Next Step 12) You're Not Worth It 13) Grasping At Straws 14) Vals For Vals Phineas Luke: guitar, keyboards Alexis Sklarevski: bass Bruce Becker: drums

Recorded by Marc Greene at The Greene Room

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Wild Things

Phineas Luke

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The fourth solo CD. 15 tracks ( one co-written with Alexis Sklarevski), 65 minutes total. 1) Don't Make Me Stop This Car 2) Besser's Uncle's Car 3) They Hunt By Night 4) An Attempt 5) Two Or Three Things About Paulina 6) Al Excess 7) My Last Nerve 8) Slow Burn 9) Uncertainty Principle 10) Happier Days 11) 1921 12) City Song 13) Sunrise 14) Impressionism 15) Pulse

Phineas Luke: guitar, keyboards Alexis Sklarevski: bass Bruce Becker: drums

Guests: Susan Winsberg: flute on tracks 10 and 12, voice on 13 Joel Rubin: clarinet on 11 Josh Aguiar: trumpet on 8 and 11 Kyle O'Donnell: saxes on 8

Recorded by Marc Greene at The Greene Room, except 3,8, 9 and 13 recorded by Andrew Bush at Grandma's Warehouse.

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                                                                                                            LINKS 

Here are the websites of some of the musicians who have played on my CDs. If you like what they did on my tunes, check them out:

BRUCE BECKER: http://brucebecker.com 

ALEXIS SKLAREVSKI: http://alexissbass.com 

STEWART JEAN: http://www.stewartjean.com 

SUSAN CRAIG WINSBERG: http://www.craigrecords.com

MY OBSESSION

MY OBSESSION (1) 

                                                                                                                                                                                                                              12/2020

There are certain chord progressions, rhythms, licks, etc., that show up over and over again in different rock and pop songs. Some are distinct and easily recognizable. 

       For example, here’s a VERY incomplete list of songs that use the drum pattern  kick    kick kick   snare  (dotted quarter note, eighth note, quarter note, quarter note) : 

[The songs are listed chronologically in order of their release dates]. 

Be My Baby   (The Ronettes, 8/1963) 

Leader Of The Pack (The Shangri-Las, 9/1964) 

Rag Doll   (The Four Seasons, 6/1964) 

Still I’m Sad   (The Yardbirds, 10/1965) 

I’ll Be Back   (? And The Mysterians, 6/1967) 

Teengenerate   (The Dictators, 1/1975) 

Say Goodbye To Hollywood   (Billy Joel, 5/1976) 

Hand In Hand    (Elvis Costello, 3/1978) 

The Card Cheat   (The Clash, 12/1979) 

Glory Days   (Bruce Springsteen, 6/1984) 

Just Like Honey   (Jesus and Mary Chain, 9/1985) 

Joey   (Concrete Blonde, 5/1990) 

What’s A Girl To Do   (Bat For Lashes, 9/2006) 

Black Magic   (Jarvis Cocker, 11/2006) 

I Want To   (Best Coast, 7/2010) 

Every Time The Sun Comes Up   (Sharon Van Etten, 5/2014) 

Lust For Life   (Lana Del Rey, 4/2017) 

    

  Another example:  There must be 100s of songs, from the 1950s onwards, that use the doowop chord  progression:   /  I  /  vi /  IV /  V /,  [ In the key of C:  /  C  /  Am / F /  G / ]. 

 Here’s a VERY incomplete list of these: 

Earth Angel    (The Penguins, 10/1954) 

In The Still Of The Night   (The Five Satins, 1956) 

Why Do Fools Fall In Love   (Frankie Lymon & the Teenagers, 1/1956) 

Walking  Along  (The Solitaires, 1957) 

A  Teenager In  Love    (Dion & the Belmonts, 3/1959) 

Stand By  Me    (Ben E. King, 4/1961) 

Crocodile  Rock     (Elton John, 10/1972) 

Starry Eyes   (Roky Erickson, 9?/1975) 

Baby   (Justin Bieber, 2010) 

[In jazz the word “contrafact” means a tune that uses the chord progression of a pre-existing song. I’ll use that as a generic term for these borrowed rhythms, progressions, etc]. 

     Some of these contrafacts have a definite point of origin. For the drum lick it’s the intro to Be My Baby, recorded in 1963, with Hal Blaine on drums. Every subsequent version either imitates Be My Baby, or imitates someone who is imitating Be My Baby. 

 

    The doowop progression’s starting point is less clear. No doubt someone has pinpointed the first doowop song to use the progression, but the same  progression was used in earlier songs, including “Blue Moon” (Rodgers, Hart, 1933) and “Heart and Soul” (Carmichael, Loesser, 1938). 

This:  / I /  bVII /  IV /  I  /,   [In C:  /  C  /  Bb  /  F  / C / ], is a less well-known contrafact than the 2 above.   

Here’s a list: 

[In each song, the progression is used throughout a verse or a chorus, unless otherwise indicated]. 

2 bar versions:   / I bVII / IV I / 

Can’t Explain   (The Who, 12/1964) 

Joey    (Bob Dylan, 1/1975)  [Intro and interludes only]. 

4 bar versions:   / I / bVII / IV / I / 

If I Were A  Carpenter   (Bobby Darin, 9/1966) 

Dear Mr.  Fantasy   (Traffic, 12/1967) 

Hey Jude (Beatles, 8/1968) [In the coda]                                  

Hear My  Freedom   (Jimi Hendrix,  recorded:10/1968, released: 2010 )                             

Sympathy For The Devil   (Rolling Stones, 12/1968)    

Fortunate Son (Creedence Clearwater Revival, 9/1969) 

Thank You   (Led Zeppelin, 10/1969)                            

Rock’n’ Roll Queen   (Mott The Hoople, 11/1969)                         

Oh! Sweet Nuthin’   (Velvet Underground, 9/1970)                            

Can’t You See   (Marshall Tucker Band, 4/1973)                

Taking Care Of  Business    (Bachman Turner Overdrive, 12/1973)    

Juke Box Music   (The Kinks, 2/1977)               

Who Are You   (The Who, 8/1978) 

Sleep   (The Oblivious, 9/1993)                                     

Hey Steven   (Mondo Cozmo, 6/2018) 

8 bar versions:   /  I  /  I / bVII / bVII / IV / IV / I / I /. 

Road House (Flamin’ Groovies, 7/1970) 

Rock Against Romance   (Holly & the Italians, 2/1981) 

Sweet Child O’ Mine   (Guns N’ Roses, 7/1987) 

Variants:  [The chords occur in the same order as in the others, but their duration is different]. 

What Goes On (Velvet Underground, 3/1969)   /  I  /  I / bVII  IV/  I/ 

Rock And Roll  (Velvet Underground,  9/1970)  / I / bVII/ IV/ I / I / 

See No Evil  (Television, 2/1977)   / I / I / I / I /bVII/ IV / I / I / 

Partial:  [Unlike the other examples, the chord progression in these doesn’t last for an entire section]. 

Morning Dew  (Bonnie Dobson, 1962) First 8 bars of the verse: /  I  /bVII IV/  I  /  I  / 2x 

Something Following Me  (Procol Harum, 9/1967) First 8 bars of verse:  /  I  / bVII/ IV /  I  / 2x 

Mistress Of The Salmon Salt   (Blue Oyster Cult, 2/1973) First 4 bars of verse: /  i  / bVII/ IV /  i  / 

I Need Lunch  (Dead Boys, 10/1977) First 8 bars of verse:  /  I  /bVII IV/  I  /  I  / 2x 

Oddities:  [ 2 examples where a medley was created out of different contrafacts]. 

 Dear Mr. Fantasy/Hey Jude medley   (Al Kooper-Mike Bloomfield,  2/1969) 

Rock And Roll/Sympathy ForThe Devil medley   (Jane’s Addiction, 5/1987) 

 

    The earliest appearance of something like this contrafact is “Morning Dew”. It was recorded by many different artists; Lulu’s version was in the Top 10 in Britain in 1968. 

    The earliest of the 4 bar versions  (by far the most common form) is “If I Were A Carpenter”, written by Tim Hardin. It was an international hit with many cover versions: 

Bobby Darin  (9/ 1966) [#8 in US, #9 in UK] 

4 Tops (4/1968) [Top 20 in the US, #7 in the UK] 

Johnny Cash/June Carter   (1/1970) [#2 in US country charts] 

Other early covers were by Johnny Halliday (1966) and Joan Baez (1967). 

So both Morning Dew and If I Were A Carpenter were widely disseminated and known. It seems likely that one or both of them was the starting point for all subsequent contrafacts. 

                                                        Finally, I’d like to close with something Don, my mechanic, once said to me: 

                                                                                      Post Hoc Ergo Propter Hoc.  

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