“Hey Reputah! Reputah the Beautah!
You know you’re really good when you can totally screw up and still make it better than if you had gotten it right.
Case in point: the introduction to the live version of “Musta Got Lost”.
Peter Wolf, the singer to the J. Geils Band, totally forgot the name of the well known storybook character he wanted to use in his introduction to “Musta Got Lost” when recording their live album “Blow Your Face Out”. But instead of being throw off kilter by the screw up, Wolf molded it into one of the most iconic spoken introductions to any song on any record…ever.
Take your big curls and squeeze them down Ratumba –
What’s the name of the chick with the long hair?
(Rapunzel!) Hey Rapunzel!
Hey Reputa! Reputa the Beautah!
Hey Reputa the Beautah, flip me down your hair
And let me climb up to the ladder of your love!!
Although unintended, the screw-up was incredibly appropriate to the song it introduced. “Musta Got Lost” was a song about screwing up. It was a song about letting somebody go and realizing afterwards that it was a mistake. Peter Wolf played on his mistake perfectly, just as anyone needs to do in such a circumstance.
Although he didn’t mean to be so philosophical, in that spoken intro, and the accompanying song afterwards, Wolf embodies the struggle of relationships from the pespective of both heart and mind. He embodies the anger and the pain of it ending, as well as the desire and desperation to want to make it work. The introduction and song embody the realization of how a relationship can be over in one moment…with one screw-up.
If I had any complaint about “Blow Your Face Out”, it’s that it was too sbort – it ended too soon. But then again, the same can be said about any meaningful relationship.
“Ladies and gentlemen, please welcome, FOGHAT!” And so begins one of my all time favorite live albums. My only gripe is – and I ask this every time I listen to this album – “why didn’t they make this a double album?” I guess they wanted to leave you wanting more. And I’m sure Foghat’s performances on the nights the songs on this album were recorded left the audience doing just that.
An offshoot of Savoy Brown, Foghat formed in 1970 and specialized in straightforward blues-based rock and roll. They were experts at it, and by 1977 had honed and perfected their live performances. Although their preceding studio albums were good, on this album Foghat proved that they were a band that was meant to be heard live. This, their first live album, was their biggest selling record ever.
Foghat “LIVE” featured a die-cut cover with the word “LIVE” displaying the record sleeve behind it which had pictures of the band performing live. Unfortunately, if you didn’t keep this record in a protective sleeve, the “E” would eventually get mangled or torn off when other albums caught on it as they were slid in next to it in your collection. My original copy of Foghat live suffered this fate. It took me forever to find one that wasn’t ripped or torn off. Lesson learned.
One of the nice things about the resurgence of vinyl’s popularity is the reissues of many albums. Not only are many of them pressed on 180 or 200 gram records, which cuts down on potential resonant feedback when you crank the volume up and adds weight to the platter which can help to maintain speed consistency (think of a flywheel).
Also, many reissues come with bonus records, with material not included with the original release. Often, this bonus material is not available anywhere else.
This reissue of Led Zeppelin’s debut album came with two additional records of an October 10, 1969 Zeppelin concert in Paris, France. An incredible performance.