9999 Songs

Song #144 of 9999 - Smells Like Teen Spirit by Nirvana

2012-03-03T21:24:00.001-05:00

Song #144 of 9999

Title: Smells Like Teen Spirit
Artist: Nirvana
Year: 1991
Album: Nevermind

http://www.youtube.com/watch?v=QlWVZjL9WD4&feature=youtube_gdata_player
(Posting from a train so no embedding feature. Also, apparently studio recordings of Nirvana are not allowed on YouTube, so you get this live version.)

Sigh. I had written this whole elaborate diatribe positing that maybe producer Butch Vig and mixer David Wallace were responsible for Kurt Cobain's death because they made a record that was so polished that the world couldn't help but eat it up like so much chocolate mousse and Cobain couldn't handle the success, but then Google's auto-save function let me down and I lost everything. (conclusion: it was Cobain's own fault for listening to too much R.E.M. and Pixies and writing songs that were just too damn catchy to amount to Bleach 2.)

Then I started talking about what I learned from Cobain and that's where I will begin now in this truncated version. What Cobain showed me was how to create harmonic interest by combining non-committal chords (essentially open 5ths with no 3rds to indicate major or minor) with vocal melodies that are benign on their own but dissonant when sung over the chords. For example, during he verses in "Smells Like Teen Spirit," Cobain sings behind the beat and sustains notes that become major 7ths and 9ths against the chord progression. During the pre-chorus, he takes this idea a step further by emphasizing the note G, which forms a 9th, a 6th, a major 7th, and an augmented 4th--all dissonant in this context--with the chords beneath. The chorus vocal follows the chord progression more closely, but still offers dissonance in the form of 9-8 suspensions throughout. Obviously, there's a lot of other stuff going in this track to make it appealing, most notably the extreme dynamic contrast between verse and chorus that would become a hallmark of the band's sound, but these harmonic tendencies account for the uniqueness of melody and harmony that sets Cobain's songs apart from the rest of the grunge movement.

Songs #142 & 143 of 9999: It's Friday, but I'm posting like it TWOsday!

2012-03-02T20:23:00.001-05:00

Song #142 of 9999 Song #143 of 9999

Title: I've Been Waiting Title: Star Sign
Artist: Matthew Sweet Artist: Teenage Fanclub

Year: 1991 Year: 1991
Album: Girlfriend Album: Bandwagonesque

It's 1991 in my blog and sooner or later I'm going to have to talk about grunge. Specifically Nirvana, but Pearl Jam and Soundgarden also loom. I don't mind—I like Nirvana—but I thought I'd give a little attention first to the music that was killed by grunge. (Okay, "killed" may be an overstatement, but when you think of 1991, do you think about Matthew Sweet and Teenage Fanclub?)

Coincidentally, right around the time grunge was sweeping the USA, there was a bit of a resurgence in guitar-driven power pop similar in style to bands who emerged in the mid- to late-1970s, such as Big Star, Badfinger, The Raspberries and Cheap Trick. Bands like The Posies, The Pixies, The Smithereens and Jellyfish were all releasing albums that garnered critical acclaim but little commercial success. Ironically, many of these bands would be cited as influences by Kurt Cobain and certainly, it is not hard to find similar melodic material in his poppiest of songs (think "About a Girl"), but the more provocative characteristics of the grunge movement (shocking lyrics, noise, rebelliousness) served as the real footholds of the genre.

Regardless, some power pop artists did establish a base of loyal fans. Matthew Sweet and Teenage Fanclub each released their third and most successful records in 1991, which fared well especially with college radio and the newly minted Billboard Modern Rock charts. Sweet's music, is more...well, sweet-sounding with blissful harmonies and Sweet's tenor floating above Rickenbacker arpeggios that could have been lifted from a Byrds record. Teenage Fanclub's Bandwagonesque caught the ear of Spin magazine, who voted it album of the year, besting Nirvana's Nevermind. Bandwagonesque's sound leans more toward washed-out distortion, with heavier drums and a more restrained vocal range. Fanclub seems to have their finger more on the future of power pop (Weezer, Fountains of Wayne, Superdrag) than Sweet, who seems to mark the end of an generation (The La's, Marshall Crenshaw, Nick Lowe). But they did have that haircut in common.

Song #141 of 9999 - Butterflies by Toad The Wet Sprocket

2012-03-01T18:57:00.002-05:00

Song #141 of 9999

Title: Butterflies
Artist: Toad The Wet Sprocket
Year: 1991
Album: Fear

Santa Barbara band Toad The Wet Sprocket always seemed a little too laid back for their own good as far I was concerned. I still liked them and bought all their records because their melodies were so good and Glen Phillips' reedy baritone agreed with me. But I think they never achieved greatness because they lacked an edge that even as gentle a band as Crowded House could summon once in a while.

Which is why I like the song "Butterflies" so much. I mean, yes, it is called "Butterflies" but there's a drive to the song seldom heard on their records. There's also some pretty cool melodic and rhythmic dissonance that pervades the track. I remember being so excited about the moment at 2:40 when Phillips sings an augmented fourth against the busy bass line. An exciting performance of an interesting song.

Song #140 of 9999 - Squeeze Me Macaroni by Mr. Bungle

2012-02-29T22:18:00.002-05:00

Song #140 of 9999

Title: Squeeze Me Macaroni
Artist: Mr. Bungle
Year: 1991
Album: Mr. Bungle

This is probably mostly a guy thing, but did you ever have a friend who, whenever you see him or her, you become instantly silly? Maybe you even make up funny songs or maybe you're even a little catty, making fun of other people behind their backs or whatever. For me, much of eighth grade was spent making up terrible (I mean, awesome!) parody songs a là Weird Al Yankovic. (Think "Detergent" in place of Foreigner's "Urgent." See, hilarious!) Later, in high school, I co-wrote many a ridiculous song, including an over-the-top Christian metal song called "Kill For God," never thinking "Christian metal" could actually become a real thing.

Mr. Bungle is a band made up of high school chums who managed to make a career out of this tomfoolery, although they lean much more toward the foul and scatological than I ever did. Fronted by mad genius Mike Patton, they released several albums, but none quite as acrid as their 1991 debut. Patton had already explored some of this territory as a member of Faith No More, but here he allows himself to be completely uncensored in the way one can only be completely at ease around family members. It's outrageous in the truest sense of the word.

Why does it work? Are you kidding? Listen to these guys play. Influenced by John Zorn, who was influenced by Carl Stalling, Mr. Bungle shifts gears at high speed, moving in and out of new tempos (and even styles) like flipping a switch. This is not entirely uncharted territory—Frank Zappa did it 15 years earlier with a similar caliber of musician and just as much raunchiness. Nothing about this record is for the faint-hearted but, if you let yourself be in on the joke, you're guaranteed to have a good time.

Songs #138 & 139 - It's TWOsday!

2012-02-28T19:55:00.000-05:00

Song #138 of 9999 Song #139 of 9999

Title: Acrobat Title: Acrobat
Artist: U2 Artist: ADD

Year: 1991 Year: 2003
Album: Achtung Baby Album: Achtung Baby

ACROBAT by ADD - click here!

Last week, I laid out my theory about how you can find an artist's most intriguing (not necessarily best) album by going to the record that marks their commercial peak and subtracting one. I cited several examples including The Joshua Tree by U2 as the high point and the previous year's The Unforgettable Fire as the better album. If I had a bigger readership (or maybe just a more motivated one ;), someone would have taken me to task for that analysis and cited Achtung Baby as proof of my foolishness.

Achtung Baby is a great example of art emerging from conflict. By 1991, U2 were superstars, having made their mark worldwide with The Joshua Tree. But they had also received some (rightfully) negative reviews for their follow-up Rattle and Hum, which seemed self-indulgent and misguided. So there was a lot of pressure and tension as the band entered the studio with producers Brian Eno and Daniel Lanois, who had helped them achieve their pre-Rattle success. Apparently, the writing and recording was hard, prompting the near dissolution of the band.

But the end result is remarkable as the band revamped their sound, juxtaposing melody and noise into a very accessible record. As the novelty of The Edge's guitar sound had worn off and Bono's voice had lost some of its clarity from excessive touring, the band was forced to turn their attention to writing great songs instead of making great recordings. The album spawned several hits, including "One," "Mysterious Ways," and "Even Better Than the Real Thing." I chose to feature "Acrobat" tonight for two reasons: 1) I think it's one of the best full band performances on a U2 record, thrilling as it nearly spins out of control in fast 3/4 time; and 2) because I think my friend Jeff's cover of the song is one of the highlights of his 2003 reworking of THE ENTIRE ALBUM. If you like it, you should check out the rest of the tracks HERE. It's a superb reinterpretation of a classic album that makes me jealous every time I listen to it.

Song #137 of 9999 - Losing My Religion by R.E.M.

2012-02-27T22:27:00.005-05:00

Song #137 of 9999

Title: Losing My Religion
Artist: R.E.M.
Year: 1991
Album: Out of Time

There are actually a number of really good songs from 1991 so I thought I would get one of the giants out of the way first. If you haven't heard this song for a while, try it out with some fresh ears.

It's always interesting when a musical artist brings some attention to the characteristics of their hometown or region. Whether it's Woody Guthrie singing about the dust storms of Oklahoma or Bruce Springsteen singing about the Jersey Shore, these artists offer a glimpse of a life most people will never experience. When it's done well, it can be very effective because it makes the subject of the song so much more tangible. Billy Joel's "Allentown," for example, paints a vivid picture of a town facing a recession while Frank Zappa's "Valley Girl" introduced an entirely new vocabulary to millions of teenagers living well outside of Southern California.

R.E.M.'s Michael Stipe took a simple colloquialism of the south and turned it into a song about longing and unrequited love. "Losing my religion" means to lose one's temper or to be at the end of one's rope. It's a really cool phrase that I certainly had never heard before this song was released, not having grown up in Georgia. The phrase anchors Stipe's otherwise (typically) cryptic lyrics and he cleverly taps the religion concept for the related phrase "choosing my confessions." Indeed, the whole song reads like a confession and I think these are some of Stipe's most engaging lyrics.

The arrangement also contributes a lot to the emotional resonance of the song. Peter Buck's I-just-learned-how-to-play-the-mandolin riff jangles amidst strings and acoustic guitars playing a simple minor chord progression. For me, the most ingenious moment of the song occurs in the break right before the final verse (around the 3:15 mark). The progression moves to the III chord (C Major) for the first (and only) time when Stipe sings "That was just a dream" and it's like the clouds suddenly part to let some sunlight through. It's a neat moment and a good example of how effective a single chord change can be.

Song #136 of 9999 - Girls on Film by Duran Duran

2012-02-26T14:03:00.001-05:00

Song #136 of 9999

Title: Girls on Film
Artist: Duran Duran
Year: 1981
Album: Duran Duran

I thought I'd close out my survey of 1981 songs with a song I wasn't very fond of as a kid and, frankly, I'm not that crazy about it now. But it's worth acknowledging for the impact that bassist John Taylor had on my development as a musician.

1981 is right around the time I learned how to play the bass guitar. I was in a band and we played progressive rock, so I became pretty good right away, learning all those Rush and Led Zeppelin riffs in assorted time signatures. My girlfriend at the time was pretty into Duran Duran, A Flock of Seagulls, The Jam, etc. (in retrospect, she was much hipper than me for the times) while I pretty much avoided the whole new wave scene. Eventually, though, if you want to play in a band that actually has gigs, you have to learn songs that people want to hear, which generally doesn't include Iron Maiden's "Number of the Beast."

It probably wasn't until 1983 (coincidentally, the year Duran Duran was re-released in America to capitalize on Rio's success) that I really had to start learning these songs and, man, were they eye-opening. Taylor's style was busy and funky (as funky as an Englishman can be, anyway) and I really enjoyed learning how to play this way. The songs were challenging but not impossible and served as a great primer to a style I really had no experience with at the time. So thanks John Taylor!

See you tomorrow in 1991.

Song #135 of 9999 - Who's Crying Now by Journey

2012-02-25T20:37:00.001-05:00

Song #135 of 9999

Title: Who's Crying Now
Artist: Journey
Year: 1981
Album: Escape

Tonight, I thought I'd write about an unsung hero. Occasionally, a band has to make a personnel change and the results can have a significant impact. Sometimes for the better (goodbye Pete Best, hello Ringo), sometimes for the worse (so long David Lee, hello Sammy). Journey made two major changes in their early years that transformed them from Santana Lite to Gods of the Power Ballad. The obvious change—bringing Steve Perry to the band as the primary singer—was significant and completely altered their sound. But it was the addition of keyboardist Jonathan Cain that catapulted them to superstardom.

If you were never more than a casual Journey fan, you may not even know who Jonathan Cain is. Cain played with John Waite in The Babys, co-writing several of their hits. When The Babys toured with Journey as an opening act, Cain caught the attention of the headliner and soon replaced original singer/keyboardist Gregg Rolie. With Journey, Cain wrote or co-wrote every one of the band's biggest hits, including "Don't Stop Believin'," "Open Arms," "Faithfully," and "Who's Crying Now."

Even though the other songs I mentioned were bigger hits, I chose to feature "Who's Crying Now" because it's an excellent example of the band and the engineer Mike Stone working together to create a really slick pop song. The arrangement is so full and lush. You can hear the acoustic guitar during the chorus and the vocal harmonies shimmer at the end of the chorus. Every bass and drum fill is rhythmically coordinated. There's a cool little synth string descant in the second half of the second chorus. I love the sound of the bass which is equalized in a way that keeps it from getting lost among the left hand piano. Perry turns in a smoky vocal performance and Neal Schon's outro guitar solo is restrained and melodic. A perfect recording of one of Journey's best tracks.

Songs #133 & 134: It's Friday, but I'm posting like it's TWOsday!

2012-02-24T18:18:00.000-05:00

Song #133 of 9999 Song #134 of 9999

Title: Genius of Love Title: Qu'ran
Artist: Tom Tom Club Artist: Brian Eno & David Byrne

Year: 1981 Year: 1981
Album: Tom Tom Club Album: My Life in the Bush of Ghosts

Tom Tom Club - Genius of Love

Earlier in the week, I profiled the Police, featuring three songs from their groundbreaking Ghost in the Machine LP. The Police are one of those bands that, in my opinion, are so much more than the sum of their parts. All three of them have had solo careers since the dissolution of the band but, despite Sting's immense success, those projects never produced anything as exciting as the music they made together. (Dream of the Blue Turtles comes close.)

Talking Heads, on the other hand, has members who made startlingly creative music alone and with others when not engaged in their primary band. In 1981, David Byrne made his foray into experimental music with producer/musician Brian Eno, while spouses Tina Weymouth and Chris Frantz explored the dance scene as Tom Tom Club. (Even Jerry Harrison released a solo record in 1981, but it sounds a little too much like watered-down Talking Heads to feature here. He fared better with 1988's Casual Gods.)

I can't really explain what makes "Genius of Love" good. The synth chirps, funky guitar (thank you, Adrian Belew) and percussion breaks all contribute but, in the end, I think it's really about the layered vocal track with its persistent three-part harmony throughout. Definitely not the lyrics. "Qu'ran" couldn't be more different in mood as it sets a reading of the Qu'ran by Algerian Muslims over a slow funk groove. This is one of the earliest examples of the significant use of sampling on a record; in fact, all of the tracks on My Life in the Bush of Ghosts employ the technique of pairing a sampled vocal track (from a variety of sources) with original music, including some inspired guitar work from Robert Fripp. Incidentally, "Qu'ran" was left off of the 2006 remaster of the record, reminding us how times have changed in the thirty years since its release.

Whether or not you like these tracks, they're worth acknowledging as being very very progressive for the time. I'll bring back the pop tomorrow.

Internet Problems

2012-02-23T21:39:00.001-05:00

Having Internet problems tonight. Will have to catch up on my blog tomorrow or over the weekend. Sorry.

Song #132 of 9999 - Rapture by Blondie

2012-02-22T19:26:00.002-05:00

Song #132 of 9999

Title: Rapture
Artist: Blondie
Year: 1981
Album: Autoamerican

"Rapture" by the new wave band Blondie is the first song featuring rap elements to top the charts in the United States. The disco-infused record clocks in at an extraordinarily long five minutes, the last three minutes of which is a freestyle-like rap about a man from Mars who eats cars and bars and people and...well, it's the rapture so what did you expect? The rapping is not good, but is in keeping with the rapping style of the era and acknowledges early rap pioneers Fab Five Freddy (who appears in the video) and Grandmaster Flash.

While the rap section is fun (they had to be half-joking, right?), I like this song more for the first two minutes when Debby Harry layers long breathy phrases over disco funk provided by the band. It's an atmospheric, cool singing style that I think was kind of rare at this time and kind of reminds me of some Japanese dream pop artists I've heard in the last decade or so. This part of the song also features the lyric "Back to back/Sacroiliac" which is a pretty impressive description of dancing if you ask me and a wicked rhyme.

The video is worth checking out if you've never seen it. While graffiti art is pretty standard these days, it was relatively new in 1981 and, if you lived outside of NYC, it was interesting to see, even on television. Jean-Michel Basquiat, who later became a very famous neo-expressionist painter, is actually in the video. So is Lee Quiñones, another graffiti art pioneer. Some very authentic touches and references to what would become the most significant pop culture movement of the next thirty years: hip-hop.

Songs #129, 130, and 131: It's THREEsday! (normally, it's TWOsday)

2012-02-21T23:07:00.003-05:00

Song #129 of 9999 Song #130 of 9999 Song #131 of 9999

Title: Spirits in the Material World Title: Every Little Thing She Does in Magic Title: Invisible Sun

Artist: The Police Artist: The Police Artist: The Police

Year: 1981 Year: 1981 Year: 1981

Album: Ghost in the Machine Album: Ghost in the Machine Album: Ghost in the Machine

I have a theory. Well, it's less a theory than an observation but it is the thesis for this blog post. If you want to find a very successful band's most intriguing work, determine their most popular or successful work (could even be their best work) and then go back one album. You'll most likely find a gem the value of which you could not possibly understand at the time it was released. Here are my examples to support this claim:

Like Thriller by Michael Jackson? Off the Wall is better.
Like The Joshua Tree by U2? The Unforgettable Fire is better.
Out of Time by REM has "Losing My Religion" but Green is amazing.
Yankee Hotel Foxtrot, right? No, Summerteeth.
And the ultimate example: What's better than Sgt. Pepper's Lonely Hearts Club Band? Revolver, that's what.

The problem with all of this is that you can't possibly know it at the time because the band is on the rise and you just don't know when they're going to peak. With The Police, the apex came in 1983 with Synchronicity, which is a great record, but I think Ghost in the Machine is more satisfying and interesting. In fact, I would go so far as to say that comparisons to Revolver are apt, especially when looking at the first three tracks.

For me, the first three tracks on Revolver represent a sea change in popular music. In rapid succession (less than eight minutes in total), you get "Taxman," "Eleanor Rigby" and "I'm Only Sleeping"—one groundbreaking song from each of the three great songwriters in the band. There are better songs to come on that record (most notably "Tomorrow Never Knows" and "Here, There and Everywhere" but those first three tracks make up an astounding popular music tryptich.

The first three songs on Ghost in the Machine compare favorably to those on Revolver. Like the Beatles songs, each song has its own mood and evokes an instant response: "Spirits in the Material World" with its dissonant synth stabs and creepy layered vocals gets its drive from Stewart Copeland's frenetic reggae-on-speed drumming; "Every Little Thing She Does is Magic," disguised as a straight-forward pop song dabbles with Lydian most for the entire verse repeating the whole-tone Fa-Sol-La-Ti over and over before erupting on Do right before the chorus; and finally, "Invisible Sun," so atmospheric and dark with its frigid synth patches, vocal chanting, chromatic chord progression and great guitar work by Andy Summers. The rest of the album is great too, but these three songs were downright startling when I first heard them in succession in 1981.

Song #128 of 9999 - Our Lips Are Sealed by The Go-Go's

2012-02-20T20:38:00.003-05:00

Song #128 of 9999

Title: Our Lips Are Sealed
Artist: The Go-Go's
Year: 1981
Album: Beauty and the Beat

It's 1981 now so let's start with something fun. Guitarist Jane Wiedlin of The Go-Go's and Fanboy Three singer Terry Hall have crafted a nearly perfect pop song in "Our Lips Are Sealed." (check out this link to hear the Fanboy Three version, a big hit in the UK) The song is so infectious it really is no wonder it remained on the charts in America for almost a year and has been listed by Rolling Stone magazine as one of the 100 Greatest Pop Songs of all time.

So what's so great about it? Aside from being just super-fun, with a spirited vocal track from Belinda Carlisle, "Our Lips Are Sealed" has some sneaky little harmonic and rhythmic tricks that make it pretty unique. It's essentially a three-chord pop song (I-bVII-IV), but the bit of the chorus that precedes the refrain is particularly clever. Starting with "Pay no mind to what they say..." we get the progression bVI-IV-bII-V before arriving at the tonic and the tagline. I can't even tell you how giddy that succession of chords makes me.

Later, during the bridge, we are treated to two lovely details in the arrangement: first, Jane Wiedlin's airy soprano delivering what will become a descant in the verse that follows; and second, a really cool bass line in the upper register layered over guitar arpeggios in 6/8 that create a polyrhythmic effect with the 4/4 in the drums. In this moment, it's as if the song could just float away! When the verse kicks back in and Wieldin continues to sing over Carlisle's lead vocal, it's one of the coolest moments in 1980s pop. (For what it's worth, as a 13-year-old, I was more interested in the splashing about in the fountain than the chord progression. :D )

Song #127 of 9999 - Life on Mars? by David Bowie

2012-02-19T18:02:00.000-05:00

Song #127 of 9999

Title: Life on Mars?
Artist: David Bowie
Year: 1971
Album: Hunky Dory

"Life on Mars?" is probably the best song of 1971. It may be the best song of the 1970s, period. I don't even know what to say about it, really. It is certainly the most significant stepping stone in David Bowie's transition from unique folkie to glam rock superstar, setting the stage for the following year's The Rise and Fall of Ziggy Stardust and the Spiders From Mars. It is also perhaps the first song by Bowie to fully realize the cinematic nature of Bowie's early 1970s period. The drama in the song is overwhelming and still packs a punch forty years later.

So what makes it work? The lyrics have been called surreal and Dali-esque but they actually seem firmly rooted in reality to me. Admittedly, they're not obvious and are open to varying interpretations, but they seem more cohesive than whimisical and the references are quite specific. But it's the harmony that elevates the song to high drama in my opinion. For a pop song, there's enough chromaticism in this chord progression to make Wagner proud. During the verse, the half-steps (with occasionally whole step) fall in a downward direction (F-E-Eb-D/G-F-E-(Eb) in a peaceful cascade. But in the bridge from verse to chorus, where the tension really gets ratcheted up, the direction is skyward (Eb-E-F-Gb/Db-A-Bb-Cb). The transition from Db/Cb to Bb Major right before the chorus is one of the most striking moments I've ever heard in a pop song and Bowie takes full advantage with an unexpected vocal leap of a 6th. Throughout the chorus, the chromaticism continues but it's more internalized, occurring more around the 3rd or 5th of the chord than in the bass. It's a thrilling progression.

Finally, it's important to note the arrangement which certainly plays a role in the dramatic nature of the song. The piano is played by Rick Wakeman, who embellishes in the style of the Romantics and Mick Ronson provides a string arrangement that fortifies the chromaticism of the harmony. An amazing effort by one of rock's most creative artists to end my week-long look at 1971.

Song #126 of 9999 - Timothy by The Buoys

2012-02-19T15:52:00.000-05:00

Song #126 of 9999

Title: Timothy
Artist: The Buoys
Year: 1971
Album: The Buoys

You say you really wish there was a hit song about cannibalism? Well, look no further. Rupert Holmes (yes, the Piña Colada song guy) wrote this song about three coal miners trapped in a collapsed mine who are forced to take drastic measures for survival. According to Holmes, he purposely wrote a song he thought would be banned for radio airplay to generate free publicity. Apparently, his plan worked as the song was indeed banned by many stations but climbed to #17 on the Billboard Hot 100.

The Buoys broke up shortly afterward, unable to capitalize on the success of "Timothy." Two of the guys later formed the band Dakota, achieving great regional success in northeast PA (where I grew up) and a modicum of national attention touring with Queen in 1980. I still have a couple of their albums and always admired Bill Kelly's voice. Today, I find the song to be mediocre and the stereo separation in the mix to be particularly annoying. But it's about cannibalism!

Song #124 (and 125) of 9999 - Baby I'm-a Want You by Bread (plus a bonus!)

2012-02-19T13:11:00.000-05:00

Song #124 of 9999 Song #125 of 9999

Title: Baby I'm-a Want You Title: 1972
Artist: Bread Artist: Josh Rouse

Year: 1971 Year: 2003
Album: Baby I'm-a Want You Album: 1972

Recently, I was talking with my friend Erik about the song selection available to me in 1971 and Bread came up. He said "I love Bread!" and I suggested that they were a good guilty pleasure band. He said he didn't feel guilty at all, so I thought I would remind him of "Baby I'm-a Want You," which I think is a terrific song but definitely belongs on anyone's guilty pleasure list for its lyrics alone. But if you let yourself revel in what may be the corniest lyrics of the 20th century, you'll discover a pretty little love song with a clever chord progression and a surprisingly upbeat bridge.

In fact, this type of love song is so iconic of the early 1970s that Josh Rouse co-opted its characteristics (mid-tempo acoustic pop with loads of major- and minor-sevenths) for the title track to his album 1972. (Yes, I know I'm in 1971 right now—for the record the Bread single was released in '71 but the album followed in '72.) Rouse was born in 1972 and decided to make a record of songs that could have been released during the year of his birth. There are hints of Carole King, Jackson Browne, Jim Croce, Gordon Lightfoot, Seals and Crofts and, yes, Bread. It's a great album—my favorite by Rouse for sure. You should check it out!

Song #123 of 9999 - Locomotive Breath by Jethro Tull

2012-02-16T12:19:00.000-05:00

Song #123 of 9999

Title: Locomotive Breath
Artist: Jethro Tull
Year: 1971
Album: Aqualung

I seem to be leaning in the direction of progressive rock where 1971 is concerned and probably with good reason. 1971 saw the release of Yes's Fragile and The Yes Album, Led Zeppelin IV (perhaps not prog by definition, but certainly displaying many of the elements traditionally associated with the genre), Zappa's 200 Motels, Pink Floyd's Meddle, Focus II, Genesis's Nursery Crime, Emerson, Lake and Palmer's Pictures at an Exhibition (with apologies to Mussorgsky) and Aqualung. As recording technology was becoming more advanced, it makes sense that more and more musical artists would want to try more complex recording techniques and produce music on a grander scale. The three-minute single was fading as album-oriented rock (AOR) radio was emerging, granting new-found attention to lengthy album tracks and an entirely new slate of bands.

Like Led Zeppelin, Jethro Tull are also unmistakably English and exhibit the same blend of heavy and acoustic elements. Unlike Zeppelin, the individual band members in Jethro Tull are not widely recognized and, arguably, not very important, with the exception of the group's leader Ian Anderson. (Martin Barre fans, feel free to scream at me in your replies.) Anderson's unique vocal style and especially his virtuoso flute playing make him a unique figured in pop music.

"Locomotive Breath" really is a very interesting song. I personally don't care at all about the bluesy piano solo at the beginning although I suppose it sets up the rest of the track nicely. Once the song proper begins, we're reminded that this band can really rock. The pulse of the song is pretty driving and action-oriented, most appropriate for the concept of a runaway train. The phrase "locomotive breath" itself is really creative and image-provoking, but the lyrical wit doesn't end there. Anderson's allegory of a man whose life is speeding out of his control has enough references to religion, adultery, and death to keep a room full of Tull fans arguing for hours about its true meaning. And then there's the flute solo: a singular blend of pitch, air and grunts that has come to epitomize the band's sound.

Song #122 of 9999 - Famous Blue Raincoat by Leonard Cohen

2012-02-15T23:48:00.000-05:00

Song #122 of 9999

Title: Famous Blue Raincoat
Artist: Leonard Cohen
Year: 1971
Album: Songs of Love and Hate

I may have said something similar before but one of the things I'm really loving about this year-long stroll through the last half-century of pop music is the surprises that lurk around every corner. Sometimes it's just a song I hadn't heard before, but more often it's an opportunity to explore an artist whose music has eluded me for whatever reason. I mentioned this in post #79 about Joni Mitchell and I bring it up again tonight with Leonard Cohen.

Too often, I will neglect a certain artist on the basis of their vocal tone quality. Leonard Cohen is one of these artists. It's not that he has a bad voice, but it's not exactly a distinctive voice and it never held my attention. (This may explain the astronomical number of Cohen cover songs—Wikipedia lists over forty versions of tonight's featured song.) As I get older, I find I'm more appreciative of his voice, actually. I also always viewed Cohen as a lyricist first and foremost and never gave much thought to his melodies or harmonic progressions, figuring they were simply there to move the words. But I'm finding more and more that they're pretty essential to the lyrics and often well-matched in ways I hadn't recognized.

I'll admit I had never heard "Famous Blue Raincoat" before; in fact, my familiarity with even Cohen's most famous tracks is pretty vague. It's a devastating song about a love triangle told from the perspective of the man who has lost his lover to another, perhaps a close friend. Written in the form of a letter, the lyrics have just the right amount of detail to root the listener ("New York is cold, but I like where I'm living/There's music on Clinton Street all through the evening") mixed with ambiguity and confusion where the emotion is most raw ("Jane came by with a lock of your hair/She said that you gave it to her/That night that you planned to go clear"). The arrangement is simple but effective with only a nylon-string guitar accompanying Cohen's reedy baritone. The disembodied female voices that shimmer in sympathy above his melodies seem at once to be both soothing and mocking. A sad, beautiful, and complex song from an artist who deserves much more attention from me and everyone else!

Song #121 of 9999 - It's TWOsday!

2012-02-14T23:03:00.000-05:00

Song #121 of 9999

Title: The Battle of Evermore
Artist: Led Zeppelin
Year: 1971
Album: Untitled (Led Zeppelin IV)

One of the things I've always enjoyed about Led Zeppelin is their range. Not just that they have mellow songs and heavy songs, but their influences are so varied and they are good at representing all of them in their music. Obviously, they are very heavily influenced by American blues music, but it doesn't dominate their music the way it does Eric Clapton's, for instance. In fact, I think there's as much English folk music influence on Led Zeppelin's music as there is blues influence. Acoustic guitars, mandolins, recorders, and mystical lyrics all have their place in Zeppelin's music, setting them apart from their counterparts. I would go so far as to say that, around the time Led Leppelin IV was released, they would have seemed equally at home at a folk festival as a blues festival.

Moreover, Led Zeppelin has never forsaken their deep English roots. There's an agedness to songs like "Bron-y-aur Stomp," "Over the Hills and Far Away," "Tangerine" and "The Battle of Evermore" that springs from a culture spanning a multitude of centuries. Folk music modes (Dorian, Mixolydian, Aeolian), minstrel rhythms, and drone notes reminiscent of early British Isle instruments (like bagpipes, for instance) all contribute to this sound.

These elements are all present in the only duet ever to appear on a Led Zeppelin record. Sandy Denny of Fairport Convention plays town crier to Robert Plant's narrator in this tale that makes reference to J.R.R. Tolkein's Lord of the Rings. (Yes, I stole much of this from Wikipedia—I admit it.) What's interesting about this duet to me is how both voices occupy the same pitch range, often crossing over one another or overlapping in unison. The effect is similar to the tuning of string pairs on the mandolin and is quite intriguing in this context. The drone notes and simple chord progression (two chords, essentially) in Dorian mode lend a hypnotic, meditative quality to the song that I really enjoy.

Song #120 of 9999 - South Side of the Sky by Yes

2012-02-13T20:41:00.000-05:00

Song #120 of 9999

Title: South Side of the Sky
Artist: Yes
Year: 1971
Album: Fragile

There are better-known songs from Yes's Fragile but I thought it would be fun to take on one of the secret gems tonight. Yes is known for its virtuosic playing and "South Side of the Sky" gives every man in the group and opportunity to shine. Steve Howe's lead guitar work on this track can almost go unnoticed since it primarily occupies the space between vocal lines during the verses, but those agitated little licks he throws in are pretty incredible and creative. Rick Wakeman is afforded a piano cadenza in the middle of the track which he relishes with extremes of dynamics and range. Bill Bruford is given the freedom to exercise his penchant for hyperactive syncopation in the mixed meter section that follows and Chris Squire uses this same space to explore the range of his bass while keeping the harmonic progression clear and precise. Finally, Jon Anderson delivers a powerful vocal performance of his unusually coherent and intriguing lyrics.

What I really love about this track is the drive. The pentatonic riff penned by Squire propels the piece forward and Bruford wisely keeps the beat of the main sections straight-forward and uncluttered. The sonic environment created by these elements coincides nicely with the theme of endurance and persistence while climbing a mountain in harsh conditions. Squire takes full advantage of that giant bridge pickup on his Rickenbacker to deliver a buzzy rattle of a bass line. And by the fourth verse, Howe's guitar plays the kind of heavy chords that wouldn't find their way into a Yes song again until 1980's Drama.

The other notable thing about this track is that the band is playing like a band. Fragile is peppered with solo tracks hinting at a near-future Yes with fragmented performances and more solo albums than collaborations. This song retains a bit of the group dynamic much more present on earlier efforts like Time and a Word and The Yes Album. I think this is why Yes fans are so fond of Drama as it marked a return to the band playing together in a way that proves the sum is greater than its parts.

Clocking in at eight minutes, this song never seems long to me. I listened to it four times in a row just now and it was interesting every time.

Songs #117, 118 & 119 of 9999: Let's Catch Up!

2012-02-12T20:47:00.000-05:00

Song #117 of 9999 Song #118 of 9999 Song #119 of 9999

Title: Runaway Title: Runaround Sue Title:Travelin' Man

Artist: Del Shannon Artist: Dion Artist: Ricky Nelson

Year: 1961 Year: 1961 Year: 1961

Album: Runaway Album: Runaround Sue Album: Rick is 21

I kind of short-changed 1961 a little bit by having a terribly busy weekend and ignoring my blog for two days. So I decided to end the week with a triple play, featuring three number one singles all dealing with some variation on running in the context of a love song.

"Runaway" by Del Shannon is perhaps the most virtuous of the three as the befuddled protagonist sings of missing his girl while hopelessly trying to figure out what went wrong in their relationship. He even shows concern for where she will be staying! How sweet. I think this song is cool for two reasons: 1) the minor key verse shifts seamlessly to the parallel major for the chorus; and 2) the descending falsetto vocal line ("why why why why why") that mimics crying. Genius.

In "Runaround Sue," Dion unselfishly warns future suitors of Sue (Suetors?) to be careful because Sue is a little bit of a....well, she likes a lot of guys. Yet, his love for her "still grows" so perhaps he has some issues of his own to work out. Most people probably like this song for the singalong backing vocals, but I just really like the rasp in this guys voice. There's a lot of character there.

It is terrible, of course, for a woman to run around with so many guys, but a man? No problem! As long as he is polite enough to keep some distance between them. Ricky Nelson has girls in Mexico, Alaska, Hong Kong, Berlin, Hawaii—the guy's a player. But it's okay because he's a travelin' man and that's what travelin' men do. Travelin' women? Why there's no such thing of course! After all, if women traveled, who would Ricky Nelson f*** when he's in town?

And thus ends 1961. See you tomorrow.

Song #116 of 9999 - My Bonnie by Tony Sheridan and The Beat Brothers

2012-02-09T22:00:00.000-05:00

Song #116 of 9999

Title: My Bonnie
Artist: Tony Sheridan and The Beat Brothers
Year: 1961
Album: N/A - single release

We can debate the relative lameness of doing a rock and roll version of "My Bonnie Lies Over the Ocean" (did American rock and roll artists ever do such things?), but this self-penned arrangement of the Scottish folk song by Tony Sheridan certainly does rock. And apparently, Germans who couldn't get enough American rock and roll played by Brits weren't particular because the song went to #5 on the German Hit Parade.

But of course, if you haven't figured it out by now, the real significance of this single is that it introduced the future Beatles to the world. Serving as Sheridan's support band on the recording sessions that would ultimately result in the album My Bonnie, John, Paul, George, Stu and Pete (yes, I said Stu and Pete!) were billed as The Beat Brothers, bringing their already well-honed Hamburg sound to Sheridan's recordings. The single is also noted for being the record that brought the lads from Liverpool the attention of Brian Epstein, their future manager. And the rest, as they say, is history.

Song #115 of 9999 - Town Without Pity by Gene Pitney

2012-02-08T22:29:00.000-05:00

Song #115 of 9999

Title: Town Without Pity
Artist: Gene Pitney
Year: 1961
Album: N/A - single release

Remember a couple of nights ago when I was talking about teen angst and drama beginning to show itself in popular music in the early 1960s? Well, it was happening in books and film as well because teenagers represented a brand new market in the USA and every entertainment industry wanted to get their hands on some of that disposable cash kids suddenly had.

Town Without Pity is a film starring Kirk Douglass and based on the 1960 novel Das Urteil (The Verdict). Listen to this plot synopsis: The film follows the trial of four drunk American soldiers who are arrested for gang-raping a sixteen-year-old girl in occupied Germany following World War II. Holy crap! That's an intense story in any decade and it's a little shocking to think it comes from a 50-year-old film.

The film spawned an Oscar-nominated song with music written by composer Dimitri Tiomkin. I love the overly dramatic orchestration and harmony in this tune. The dissonances are so much fun right out of the gate: stressed 9ths over the tonic B minor, then E Minor, then a borrow G Minor(!) before settling on the dominant F#. And when Pitney enters, he starts on a D, a minor 6th above the root suggesting an augmented dominant. Take all this musical drama and add these lyrics from Ned Washington...

When you're young and so in love as we

And bewildered by the world we see

Why do people hurt us so

Only those in love would know

What a town without pity can do

...and you've got yourself some pretty serious melodrama. Pitney is game, delivering a crooning over-the-top lament with swooping glissandos and raspy pouting. Opera for the masses.

Songs #113 & 114 of 9999 - It's TWOsday!

2012-02-07T22:24:00.000-05:00

Song #113 of 9999 Song #114 of 9999

Title: The Lion Sleeps Tonight Title: Mbube
Artist: The Tokens Artist: Solomon Linda's Original Evening Birds

Year: 1961 Year: 1939
Album: N/A - single release Album: N/A

Although it has been recorded many times both before and after, "The Lion Sleeps Tonight" first became a hit when it was recorded by The Tokens in 1961. The doo-wop group was initially resistant to this adventurous arrangement, which features falsetto singing supported by tom-tom and sidestick drumming, a saxophone solo and a descant soprano. But the song became an instant sensation, landing at #1 on the Billboard Hot 100.

Interestingly, this recording was also the first to feature the English lyrics with which everyone is so familiar. The song had existed for over 20 years in the original Zulu as "Mbube" ("Lion"), selling over 100,000 copies in South Africa before being discovered by Alan Lomax, who brought it to the attention of folk singer Pete Seeger, who recorded it under the title "Wimoweh" with his group The Weavers.

It's fun to compare the two songs and to think about the path a song can travel during its lifetime. Solomon Linda essentially improvised "Mbube" during a recording session in Johannesburg in 1939 and over fifty years later, Disney made the song into a worldwide sensation by featuring it in the 1994 animated film The Lion King.

Song #112 of 9999 - Will You Still Love Me Tomorrow? by The Shirelles

2012-02-06T18:22:00.000-05:00

Song #112 of 9999

Title: Will You Still Love Me Tomorrow?
Artist: The Shirelles
Year: 1961
Album: Tonight's The Night

After short-changing 2000 by a song (sorry Eminem, I'll make it up to you in a few months), we time-travel back to 1961. You may recall from my 1960 blog posts that this was a time when many people were proclaiming "rock and roll is dead." But it's a fascinating time, heralding the rise of the girl groups and dramatic teenage ballads.

I thought I'd start with the song that was actually number one on this date in 1961, "Will You Still Love Me Tomorrow?" Written by Gerry Goffin and Carole King in a Brill Building cubicle, this song is a testament to how something beautiful and amazing can be forged from very little inspiration and a lot of songwriting craft. I've talked often about how much I love the concept of an office building filled with pop music composers working day after day in (mostly) friendly competition with one another and coming up with these gems and this is the prototypical example.

This song is also timely because we were just talking about the 32-bar AABA form that emerged from Tin Pan Alley as the principal form for pop song writing in our Pop Music class today and "Will You Still Love Me Tomorrow?" is an excellent example. But more significantly, this song (and many others like it) established the idea of teenage drama and angst (albeit, low-level by today's standards) in pop songs. By ending with the titular question, a lot of drama is created with this lyric:

Tonight you're mine completely,
You give your love so sweetly,
Tonight the light of love is in your eyes,
But will you love me tomorrow?

The idea of teenagers as complex and emotional beings was relatively new at this point (the term "teenager" had itself only been around for about a decade) and this song captures the sentiment perfectly. To really understand just how different the times were, consider that some radio stations even banned this song for having lyrics that were too "sexually charged"!

Song #111 of 9999 - Slow and Steady Wins the Race by Pedro the Lion

2012-02-05T09:32:00.000-05:00

Song #111 of 9999

Title: Slow and Steady Wins the Race
Artist: Pedro the Lion
Year: 2000
Album: Winners Never Quit

I remember really enjoying this record by Pedro the Lion in 2000. The songs are simple with spare arrangements and intriguing lyrics. Although not every song is as lo-fi as the track featured here, it's a pretty mellow record and doesn't overstay its welcome at 39 minutes.

"Slow and Steady Wins the Race" is an interesting study in the different ways the interval of a fourth can be used as a dissonance. All of the first three lines end with 4-3 in the vocal line, but each is treated differently. In the first line, on the word "grandma," the fourth isn't dissonant at all but is part of the IV-I (Gmaj-Dmaj) progression. In the second, on the word "narrow" the fourth (C#) is augmented against the G Major chord in the guitar. And in the third, on the word "wandered," the fourth (D) is suspended over the A Major chord. Later, in the minor section the augmented fourth re-emerges over a VI chord (Bb). Maybe a little pedantic for such a lo-fi indie track, but it was something I noticed and that's why I write this stuff, right?

The lyrics remind me of an old Grimm fairy tale where children are occasionally depicted as vicious as they really are. But, like much of David Bazan's early work, it's rooted in religion as becomes clear in the second verse when the main character ascends to heaven and is rewarded for...failing to help his brother who (quite literally) strayed from the path? It's hard to know exactly where Bazan stood on this (im)morality tale, but I hope in his heart he viewed his main character as a delusional monster and not a faithful servant.

Song #110 of 9999 - Flyswatter by Eels

2012-02-04T15:43:00.000-05:00

Song #110 of 9999

Title: Flyswatter
Artist: Eels
Year: 2000
Album: Daisies of the Galaxy

So, I missed my post yesterday because I was tired and couldn't convince myself to climb two flights of steps to write some words about some song. Instead, I fell asleep in a chair and then climbed one flight of steps and went to bed. Today, I'm at a music festival (a school orchestra festival, not Coachella or whatever) so the chances of me writing were pretty slim. But, with the help of an ethernet cable (remember them?) and my trusty school laptop, I am bringing you Song #110 - Flyswatter by Eels. (I'll try to get entirely caught up with a morning and evening post tomorrow.)

There are a couple of people I know who I think I only sort of like and then when I see them I realize they're actually really cool and I wish I knew them better or spent more time with them. Eels is like that for me. I have two or three albums by the man who simply calls himself "E" and his pals who show up and record in his basement. I almost never listen to them but man are they good. The songs are moody, quirky, complex, balanced—it's no wonder he's an indie darling. Daisies of the Galaxy is particularly good at showcasing the poppy side of Eels and is certainly lighter and less depressing than his previous efforts.

"Flyswatter" is like a lost Beck track (did I mention in a previous post how much music from 2000 sounds like Beck?). E's voice is pretty nondescript as a rule but when he sings lyrics that are Beck-like ("Heat is rolling in like Hell's red rug/Stinking like the breath of Beelzebub") and writes a melody and chord progression that evoke Odelay-period Beck, he is pretty much the spitting aural image of Beck. Regardless (or maybe because of), I like this track a lot. The celesta, chimes and eerie voice are all nice touches in a song that needs a little bit of flash in the production to make up for its brevity and....incompleteness. But the hook is solid and when you have a hook this good, you finish the song and dress it up.

Song #109 of 9999 - This Mess We're In by P. J. Harvey (featuring Thom Yorke)

2012-02-02T22:38:00.000-05:00

Song #109 of 9999

Title: This Mess We're In
Artist: P. J. Harvey (featuring Thom Yorke)
Year: 2000
Album: Stories From the City, Stories From the Sea

Tonight, I thought tonight I would talk about my process for writing this blog, specifically the one-year-per-week-for-52 weeks approach I began January 1. On Sunday, I sit down with Wikipedia and take a look at all (a relative term, obviously) the records that were released in the year I'm about to undertake. I make a list of the obvious records of interest (2000's Kid A, for example) and try to narrow down a song selection for each of those records. Then I look at all the significant singles released that year and add them to the list. When I'm done, I usually have about fifteen songs to examine or at least a band name to investigate later. It takes few hours because I'm usually listening to songs along the way and sometimes I get taken down unexpected paths.

One of the most exciting things that happens during this process is that I discover records or songs I didn't even know existed. Sometimes it will be someone I've heard of and just missed (like the Cale/Eno collab from a week ago) or it can be someone entirely new to me who catches my eye or ear (such as Dalida a month ago). It makes the process longer but so much more gratifying.

Tonight's song, a collaboration between P. J. Harvey and Thom Yorke, is one such discovery. I will admit that P. J. Harvey is not really on my radar—I'm really just not that cool—and I was so excited to find this song. "This Mess We're In" is not the type of song you would expect to hear from the Radiohead front man and that's what's so fascinating about it. Whereas Yorke tends to treat his voice like one of the instruments in Radiohead, here it is front and center and you suddenly are reminded this guy has an insanely beautiful voice. The accompaniment, with it's drone-like guitar and piano layers is pure Harvey, chugging along like an urban heartbeat. Harvey's vocal track, especially the spoken word and the single unison line she sings with Yorke in the final verse, is one of the sexiest things I have heard on a record in a long time. A simply breathtaking duet.

Song #108 of 9999 - Save Me by Aimee Mann

2012-02-01T22:18:00.000-05:00

Song #108 of 9999

Title: Save Me
Artist: Aimee Mann
Year: 2000
Album: Bachelor No. 2

I'll start by admitting that, when I saw Til Tuesday on MTV for the first time in 1985, I pretty much wrote them off. "Voices Carry" was an okay song and Aimee Mann was cute and had a great haircut but, to me, they sounded like The Cars with a girl singing. I didn't really understand at the time what a great hook that song had and I wasn't really even thinking about songwriting in a rational way (remember, I was a huge Rush fan) so "Aimee Mann, The Songwriter" didn't even register.

Fast-forward to 2000 and all of sudden I have friends telling me to check out the new Aimee Mann album. Bachelor No. 2 features a number of songs written specifically for the 1999 film Magnolia (which I still haven't seen) at director Paul Thomas Anderson's request. It's a very fine album and spent a lot of time in my CD player that year. "Save Me" is probably the best song and certainly received the most attention, being nominated for a Best Song Oscar.

I've heard a bunch of songs that use the opening progression to this tune, Gm Gm(#7) Gm7 Gm6, but I don't think I've ever heard one that isn't actually in a minor key. Mann's use of the progression is a trick; the song actually starts on the submediant (vi) in Bb Major. It's really clever and I'm mad that I didn't think of it first! Wisely, she keeps the arrangement spare so her voice can be the rightful center of attention. Like her contemporary, Suzanne Vega, Mann chooses to present her voice in an unaffected manner with little to no reverb or delay and it works well to her advantage. The song also has some subdued but effective guitar work and a well-suited accordion.

Songs #106 & 107 - It's TWOsday!

2012-01-31T22:59:00.000-05:00

Song #106 of 9999 Song #107 of 9999

Title: Everything in its Right Place Title: Don't Panic
Artist: Radiohead Artist: Coldplay

Year: 2000 Year: 2000
Album: Kid A Album: Parachutes

I guess you could argue that Radiohead evolved into something more than a pop band with OK Computer, but, with Kid A, they basically left the planet and haven't been back since. For some, that means they turned into gods, making music that transcends pop and charts territory we didn't even know existed; for others, it means they became completely lost in their own self-indulgent world, with nary a melody to be heard from them again. (For the record, I fall into the former camp–one "Fake Plastic Trees" is enough for me.)

So what's a pseudo-mopy melodic British pop fiend supposed to do when a band like Radiohead suddenly desserts them? "Don't Panic"—that's what! Coldplay's debut record has almost all of the hallmarks of Radiohead's safer tracks on Pablo Honey and The Bends: clean electric guitar lines, busy but not quite hyperactive drums and an emotional singer with a sweet falsetto. "Don't Panic" is really not a bad song and it came just in time to rescue non-believers from....

....scary compressed-but-ever-evolving electric pianos layered with backward masking and a perpetually rising three-chord progression spread across ten beats. Chris Martin's "we live in a beautiful world message" is nowhere to be found among Thom Yorke's lyrics about....well, who knows what they're about? It doesn't really matter because they work perfectly amidst this eerie intro to the band that has redefined pop music for the 21st century.

Song #105 of 9999 - Chemical by Joseph Arthur

2012-01-30T20:38:00.000-05:00

Song #105 of 9999

Title: Chemical
Artist: Joseph Arthur
Year: 2000
Album: Come To Where I'm From

Whenever an artist is "discovered" by a big name like Peter Gabriel, expectations run high. Joseph Arthur was the first artist signed to Gabriel's Real World Records in 1996 and was invited to join Gabriel's WOMAD tour following his first release in 1997. Arthur made a bigger, but still modest, splash with his more polished sophomore effort Come To Where I'm From. It featured the single "In the Sun," a lovely song that has the unfortunate distinction of being perfect for contemplative moments in episodes of "Scrubs" or the like. It's an obvious single that would quickly melt the hearts of adult contemporary listeners everywhere.

I really like "In the Sun" but I never thought it fully represented Arthur's style, which is often described as folk-punk or experimental folk-rock. The guy has an edge that is sometimes his worst enemy (avoid his records with The Lonely Astronauts) and an artistic side that is interesting and successful but occasionally gets in the way of his music. Anyway, as it turns out "In the Sun" was actually the second release from Come To Where I'm From, following "Chemical."

"Chemical" is much more indicative of Arthur's style. I was surprised a little by how much it sounds like Beck, but then I was surprised by how much a lot of music from 2000 sounded like Beck while doing my research this week. The dirty guitar and veiled production remind me of another dark loner, the late Mark Linkous of Sparklehorse. What I really love about this song, though, is the extended multi-part chorus. You get the sustained title in falsetto three times, then the call-and-response section that begins with "I'm putting myself in jail" and then yet another section that begins with "I don't know the way..." before returning to the verse. This kind of thing always impresses me because I never think to do it in my own songs!

Incidentally, Arthur just released a double album that is 100% free to download from his website. You can get it here.

Song #104 of 9999 - Pure by The Lightning Seeds

2012-01-29T19:40:00.000-05:00

Song #104 of 9999

Title: Pure
Artist: Lightning Seeds
Year: 1990
Album: Cloudcuckooland

On this final day of my week featuring songs from 1990, I had to make a tough decision. Go with the big hit or go with a good song many have never heard or don't remember. No song made a greater impression in 1990 than Sinéad O'Connor's gorgeous cover of Prince's "Nothing Compares 2 U." Jane's Addiction also scored big with the rollicking "Been Caught Stealing." And don't call it a comeback, but LL Cool J returned to the charts with "Mama Said Knock You Out."

In the end, I followed the advice found in the lyric of my featured song, which reminded me that "feelings, not reasons, can make you decide." I just really like this song and it makes me happy listening to it and sharing it. The Lightning Seeds is basically just one guy, Ian Broudie, a music producer from Liverpool, who produced a lot of synth pop in the late 1980s, including Echo and the Bunnymen, Icicle Works, and The Fall. Supposedly, "Pure" is the first song he ever wrote from start to finish and it turned out to be his biggest hit worldwide and his only song to hit the charts in the US.

"Pure" has a melancholy character despite its upbeat tempo and stays true to its title with just two chords for the verse and four for the chorus, never straying from its home key of E Major. The vocal melody in the verse (and, to an extent, the synthy ostinato) adds a bit of complexity to the A Major chord by emphasizing the major 7th. It's this almost incidental dissonance that contributes to the dreamy quality and evokes some sadness. What really struck me through this analysis is how similar The Lightning Seeds are to Belle and Sebastian, who didn't emerge until six years later. I don't recall ever hearing these two bands mentioned in the same breath and I wonder if there is some connection.

Anyway, enough theorizing. Enjoy the song and I'll see you tomorrow in 2000!

Song #103 of 9999 - Falling by Julee Cruise

2012-01-28T18:09:00.000-05:00

Song #103 of 9999

Title: Falling
Artist: Julee Cruise
Year: 1990
Album: Floating Into the Night

Twin Peaks was as much about small-town living as it was about murder and intrigue. The pace of Twin Peaks, the fictional city, was probably not as glacial as the tempo of this song, whose instrumental version accompanied the opening credits, but it does seem fitting for a sleepy town where nothing much happened before the murder of Laura Palmer and the arrival of Kyle McLachlan's pie-obsessed special agent.

As much attention as David Lynch gives to the creation of his films, I'm guessing Angelo Badalamenti's score was practically dictated by the director. Having heard Lynch's own music, I'd bet the excessive reverb and shimmering airiness of Julee Cruise's vocal also emanated from his imagination (as did the lyric). Twenty years later, I doubt many of us have the attention span for this track or even the show itself; but, with it's echoing slide guitars, major sevenths and swelling synths, it is certainly an excellent example of dreaminess in pop.

Song #102 of 9999 - Epic by Faith No More

2012-01-27T18:02:00.000-05:00

Song #102 of 9999

Title: Epic
Artist: Faith No More
Year: 1990
Album: The Real Thing

I have to admit I was hesitant to feature "Epic" in my blog for a number of reasons. First, I don't think it's truly representative of who Faith No More are/were, certainly not who they became. No-one (except maybe Mike Patton) could have predicted what a genius Mike Patton would turn out to be. Most of the songs on The Real Thing were already written and recorded and Patton's job was basically to write some lyrics and sing. His avant-garde influence would really not be felt until Angel Dust. Second, the song is arguably responsible for spawning a genre I really don't like very much: rap metal. It pains me a little to know that Faith No More contributed to the success of Limp Bizket, Linkin Park, Korn and other bands who have trouble spelling their own band names. My only solace is the fond recollection of helping to boo opening act Limp Bizket off the stage at a Faith no More concert in the mid-90s. There's just so much more to this band than "Epic" and I'd much rather play "Evidence" or "Midlife Crisis" or "Ashes to Ashes" or Spanish-language "Evidence."

"Epic" is somewhat the victim of its own success. Watching the video and listening to the song, one can't help but notice it hasn't aged well. The rapping is not very good and Patton looks fairly ridiculous in his multi-colored outfit and gesticulating in purposeful white-boy rap style. Many of the rap metal bands that followed have done this style better (even if I don't like them very much), making this song look weak by comparison. But it was first and it was a huge hit. What does it have going for it? Faith No More are a really good band and the playing is great. (They're going to get even better with the next guitarist.) The keyboard, particularly the piano solo at the end, was something relatively new for metal bands, who tended more toward the powerful sound of Hammond organs with giant Leslie speakers (think Deep Purple). And the video, well.....it seemed cool in 1990. The flopping fish attracted all kinds of negative attention from animal rights groups but MTV played it pretty around the clock anyway. Not sure the exploding piano was necessary...

Song #101 of 9999 - Fight the Power by Public Enemy

2012-01-26T20:50:00.000-05:00

Song #101 of 9999

Title: Fight the Power
Artist: Public Enemy
Year: 1990
Album: Fear of a Black Planet

"Elviswas a hero to most

Buthe never meant shit to me you see

Straightup racist that sucker was

Simpleand plain

Motherfuck him and John Wayne"

Whether you agree with or appalled by this lyric, you can't deny its impact and power. As with the most provocative visual art, the music of Public Enemy was designed to get people thinking and debating. It's a call to action for some and scares the crap out of others. The album title Fear of a Black Planet is very appropriate for the group that took on a militant look and produced music wrought with pure tension.

In an homage to Phil Spector's "Wall of Sound" production method, Pubilc Enemy's Bomb Squad set out to produce a "Wall of Noise" and did they ever. Piecing together hundreds of samples on a single album, the producers developed a dense cacophonous stew of sounds that set the stage for Chuck D's proselytizing and Flavor Flav's antics. "Fight the Power" features over a dozensamples from such disparate sources as Bob Marley's "I Shot the Sheriff," "Planet Rock" by Afrika Bambaataa, and Uriah Heep's "Bird of Prey." These are in addition to the usual soul records from James Brown, Syl Johnson and Bobby Byrd. In fact, the only live instruments on the record come from Branford Marsalis (saxophone) and Terminator X (scratches).

Chuck D said, with Fear of a Black Planet, he was "shooting for Sgt. Pepper's." Considering the limited technology available in 1989 (when this single was actually produced), I think there is a case to be made that he succeeded in terms of pushing production values to their limits in the same way George Martin and The Beatles succeeded in coaxing amazing results from a four-track recorder.

Song #100 of 9999 - Personal Jesus by Depeche Mode

2012-01-25T20:35:00.000-05:00

Song #100 of 9999

Title: Personal Jesus
Artist: Depeche Mode
Year: 1990
Album: Violator

Like a lot of music in the early 1990s, Depeche Mode sneaked by me. I was aware of them, but I didn't really understand the impact they were having or the success they were attaining. And I guess I kind of dismissed them a bit. (I was pretty heavily involved in analyzing the neo-Classical works of Stravinsky at the time, so.....that's my excuse and I'm sticking to it!)

What a delightful surprise "Personal Jesus" must have been to hardcore Depeche Mode fans! I can only imagine it spun their heads around a bit. The instrumental track evokes the barrenness of the desert (even without the literal images provided by the video) by maintaining a spare balance between guitar and drums. The guitar track, prominent like no other in previous works by the band, just kicks ass in so many ways from the riff itself to the perfect tone quality. The chord progression smacks of American blues music with a rhythmic feel falling uncomfortably between straight and swing. Finally, the expected synthesizers are there but in a well-situated supporting role.

By the time Dave Mahan starts singing, all is well again in Depeche Mode-land, with his purposely indifferent and emotionless voice delivering always intriguing lyrics. Its striking to hear this vocal style delivered atop a guitar track that relies so heavily on blues elements. A remarkable contrast that is truly unique and deserving of the attention it received. A great track.

Songs #98 and 99 of 9999 - It's TWOsday!

2012-01-24T22:28:00.000-05:00

Song #98 of 9999                                                    Song #99 of 9999
Title: Spinning Away                                                Title: I Feel Love
Artist: Brian Eno and John Cale                              Artist: Donna Summer

Year: 1990 Year: 1977
Album: Wrong Way Up Album: I Remember Yesterday

I have to admit I had never heard Wrong Way Up before this past Sunday. One of the nice things about writing this blog is you get taken to places you didn't even know existed. I knew Brian Eno and John Cale had collaborated on an album but it never made its way to me and I didn't go looking.

"Spinning Away" was inspired by Van Gogh's "Night Sky at Arles," its lyrics describing the act of drawing in florid detail. It's one of those songs that gets richer every time you listen to it. As you would expect from Eno, the musical landscape is as complex as a painting layered with thick paint. Off-kilter drums and an active bass bubble beneath a slow and repetitive four-chord progression while a fluid vocal is poured over the top, avoiding syncopated violin stabs. Eno described the song in terms of "contrasts of speed" and lists Donna Summer's "I Feel Love," produced and orchestrated by Georgio Moroder, as an inspiration for the arrangement. It's easy to hear the similarities with Moroder's pulsating synth rhythms contrasted by Summer's silky vocal. Both songs have a trance-like quality despite being quite different in style, instrumentation and texture. A surprising and unlikely pair for this TWOsday!

Song #97 of 9999 - When the Lights Go Out by Oingo Boingo

2012-01-23T19:24:00.000-05:00

Song #97 of 9999

Title: When the Lights Go Out
Artist: Oingo Boingo

Year: 1990
Album: Dark at the End of the Tunnel

1990 was not a good year for pop music. I had a really hard time coming up with even a dozen songs I'm excited about sharing. But here goes anyway. :)

By 1990, Danny Elfman had already become a major force in the movie music business, having written scores for the Pee-Wee movies, Beetlejuice, and Batman. I found his film music to be quite good, especially when paired with the right film and he had obviously found a kindred spirit in misfit Tim Burton. A huge fan of The Simpsons, I also admired Elfman's old-school opening theme for the animated sitcom. But I really hadn't had any experience with his pop music until I picked up Dark at the End of the Tunnel.

The entirety of Dark at the End of the Tunnel doesn't live up to the opening track, but "When the Lights Go Out" is an insane piece of pop music. It's easy to hear why Elfman's music translates so well to the cinema as the song paints vivid and sometimes frightening pictures with its jungle beat, zombie backing vocals and slithery note-bending. The track production shows Elfman's sense of balance and ability to make sense of a busy, active space, additional assets where film music is concerned.

Not sure this song holds up super-well twenty years later, but I must admit I listened to it a lot that year. A sentimental favorite.

Song #96 of 9999 - I Will Follow by U2

2012-01-22T12:58:00.000-05:00

Song #96 of 9999

Title: I Will Follow
Artist: U2

Year: 1980
Album: Boy

Bands that stick around for thirty or more years rarely manage to sustain the interest of their fans, let alone the general public. Typically, they find themselves wanting to try new things and find their fans aren't willing to come along for the ride or they keep doing the same thing over and over with diminishing results. Styles also change and bands who become quite successful in one genre often have to decide whether to test the waters in another or stick to what they know and hope they become fashionable again.

U2 falls more into the latter category, I suppose, although they have taken certain risks throughout their careers (Pop comes to mind, Rattle and Hum was certainly a departure, although not for the better to my ears). Listening back to their first single, "I Will Follow," one can recognize the basic U2 sound of today even if the 21st-century version lacks some of the spunk of the four Irish lads in this very white video.

Say what you want about The Edge as a guitarist, there is no question that he created a very unique sound and approach to the instrument, one that was perhaps as startling as Eddie Van Halen's or Chuck Berry's. His minimalistic approach works well with Adam Clayton's contained but active bass lines and the high-range frequencies of Larry Mullen Jr.'s cymbal-and-snare drumming. The band is very adept at creating and maintaining space in their sound that I find attractive. In this song, the glockenspiel added by Steve Lillywhite (sounds like crotales to me actually) adds a clang that I appreciate.

And then there's Bono. This video makes him look ridiculous, but in 1980, most of us looked ridiculous. He is probably the number one reason U2-haters hate, but on the other hand, he is so charismatic that it's not hard to understand why he has legions of followers. If nothing else, he seems to serve as the soul of a band who's sound is severely lacking in that area (which is fine by me—again, Rattle and Hum = blech).

See you tomorrow in 1990.

Song #95 of 9999 - Once in a Lifetime by Talking Heads

2012-01-21T19:14:00.000-05:00

Song #95 of 9999

Title: Once in a Lifetime
Artist: Talking Heads

Year: 1980
Album: Remain in Light

Less a song than a work of art, "Once in a Lifetime" is a production of famed producer Brian Eno who pieced together the independent contributions of the members of Talking Heads. The song is so revolutionary that it has been named one of the 100 most important musical works of the Twentieth Century by NPR and its video is exhibited in the Museum of Modern Art, New York City. To further evidence its greatness, it didn't even crack the Billboard Hot 100 in America. :-\

For me, this is one of a very few songs that manages to sustain listener interest with absolutely no harmonic progression. Tina Weymouth's bass line gives the impression of two chords, but she's really just alternating between the 3rd and 5th of the D Major chord that is sustained throughout the piece. It's not until the guitar power chords at 3:05 (D-C-G) that we hear anything in contrast to the D Major groove. (By the way, I use D Major loosely—the sustained and sparkling keyboard that hovers over the song appears to contain almost all of the notes of the D Major scale and enough pitch modulation to disorient.)

Of course, as interesting as the polyrhythmic musical kaleidoscope manufactured by Eno is, it's David Byrne's manic preacher existentialist rant that makes the song. "And you may find yourself living in a shotgun shack!" It's like one of those intriguing first lines from a novel that you can't put down. The verses are contrasted by a call-and-response chant that lets you know you're not alone in your midlife crisis and invites you to participate in the ritual.

Song #94 of 9999 - I Got You by Split Enz

2012-01-20T17:36:00.000-05:00

Song #94 of 9999

Title: I Got You
Artist: Split Enz

Year: 1980
Album: True Colours

Not a lot of time tonight to write, but so what? You don't need me to tell you how awesome this song is. When that menacing chromatic chord progression opens up to reveal the glorious chorus, it's 100% pop bliss. Fun to think of Split Enz as the training ground for Crowded House and this song certainly shows flashes of the brilliance that will inhabit Neil Finn's future songwriting. It's also a reminder of just how well the man can sing. Enjoy.

Song #93 of 9999 - Ace of Spades by Motörhead

2012-01-20T05:19:00.000-05:00

Song #93 of 9999

Title: Ace of Spades
Artist: Motörhead

Year: 1980
Album: Ace of Spades

I first heard "Ace of Spades" when Motörhead showed up unexpectedly in an episode of The Young Ones, an absurd British comedy that was showing on MTV sometime around 1985. It was a rare moment for me. I didn't exactly like what I was seeing/hearing, but I also didn't want to stop watching/listening, I had certainly never seen anything like this band. Lemmy Kilminster is scary with his mic positioned overhead and that gravelly voice. Remember, I was used to seeing guys with Rickenbacker basses in bands like Rush and Yes, wearing capes and singing with high-pitched voices about philiosophy and Ayn Rand. This was....a shock to my system.

I never became a big Motörhead fan but I love this song. The live energy of the recording, propelled by the drumming of Phil Taylor, is invigorating and I love the guitar work, especially the solos. I think hearing this song probably made me more interested in bands like Metallica and Megadeth than I would have been otherwise. Still an exciting track 30 years later that holds up very well to today's metal.

Song #92 of 9999 - The Spirit of Radio by Rush

2012-01-18T19:15:00.000-05:00

Song #92 of 9999

Title: The Spirit of Radio
Artist: Rush

Year: 1980
Album: Permanent Waves

It's hard to believe how much of a Rush fanatic I was 30 years ago. Around 1981, I was playing keyboard and singing in a band with three school friends who played guitar, guitar and drums. It was suggested that I learn the bass and one of the guys knew someone who was selling a 1973 Rickenbacker bass that was listed in the local classifieds. This was the same friend who probably had us performing "Tom Sawyer" and "Red Barchetta" already with me playing the bass and synth lines simultaneously on my awesome $100 Casio. I bought the bass and still own it to this day. It was probably the most significant purchase of my life.

Owning a bass sent me on a quest for great bass lines to learn. While there was an emergence of guitar-related magazines with some tablature, there was nothing like the Internet today and if you wanted to learn a song, you sat down with the record (or more likely a tape) and you figured it out. I had notebook after notebook of Rush and Yes songs written in my own blend of crude and standard music notation as I learned what was the "standard repertoire" of my youth.

I probably didn't hear "The Spirit of Radio" until 1982 or so and it wasn't a song that I immediately fell in love with. It was a little too pop by Rush's standards and I didn't really understand the point of the ridiculous simultaneous bass and guitar licks that open the tune. (But I worked like hell to learn them.) I also wasn't taken by the pseudo-reggae pap and "concert hall!" gimmickry toward the end. But this was Rush and I had chosen my path and it meant loving everything they released and trying my best to sound exactly like Geddy Lee. They provided a remarkable collection of etudes and a proving ground for me and my fellow musicians and, for that, I'll always be grateful.

Songs #89, 90, and 91: It's THREEsday! (normally, it's TWOsday)

2012-01-17T22:42:00.000-05:00

Song #89 of 9999 Song #90 of 9999 Song #91 of 9999

Title: It's Still Rock and Roll To Me Title: Crazy Little Thing Called Love Title: (Just Like) Starting Over

Artist: Billy Joel Artist: Queen Artist: John Lennon

Year: 1980 Year: 1980 Year: 1980

Album: Glass Houses Album: The Game Album: Double Fantasy

I guess every generation has a tendency to hearken back to a previous time and 1980 was no different. As songwriting was becoming increasingly less complex and a return to the three-minute song was emerging, artists could choose to move in one of two directions: the new wave future with all of its synthesizers and drum machines or the nostalgic past when rock and roll was born. Although all three of these artists (except maybe John Lennon—and probably only due to his untimely death) did eventually test the new wave waters, they chose in 1980 to return to the past, specifically to the sound of the mid- to late-1950s.

Billy Joel's track is actually kind of a best-of-both-worlds approach with the verses sounding like a lot of the guitar-based new wave bands (perhaps Blondie or The Cars) but the chorus breaks out into a rollicking feel reminiscent of Chuck Berry or Jerry Lee Lewis complete with a 50s-era sax solo. This dichotomy is part of the gimmick, I suppose, since the lyric aims to put "the new sound" in its place a bit. For me, it's the least effective of the three nostalgia songs precisely for this reason, but it's a fun song nonetheless.

In Queen's shuffle "Crazy Little Thing Called Love," Freddie Mercury trades opera for Elvis and turns out a pretty good impression. Technically, this is the best approximation of the music it wishes to emulate—everything is in its right place and in all the right proportions: the walking bass line, the call-and-response vocal harmonies and the vocal hiccups we remember from artists like Buddy Holly and Gene Vincent. But best of all, the song provides an opportunity for Brian May to lay down a masterful guitar track with a solo that would have made Check Berry proud.

On the "stripped down" version of Double Fantasy, John Lennon says in reference to "Starting Over," "this one's for Gene, Eddie and Elvis....and Buddy!" Of course, he's referring to Gene Vincent, Eddie Cochran, Elvis Presley and Buddy Holly. You can probably add Roy Orbison to the list too. Unlike Joel and the boys from Queen, Lennon had already experienced the influence of these artists first-hand when he was playing with The Beatles in the early 1960s. And his song is the most genuine to me in its construction and performance. Yes, it hearkens back to this other time and borrows from his childhood heroes, but the song is unquestionably Lennon. I could write a lot about the chord choices—the augmented chords, the 6th chords, etc.—but this post is getting long so I'll save it for another time. I'll just say I think this song best captures the essence of the time period all three of these songs were honoring. It's a true masterpiece of pop.

Song #88 of 9999 - Spring Collection by The Vapors

2012-01-16T21:54:00.000-05:00

Song #88 of 9999

Title: Spring Collection
Artist: The Vapors

Year: 1980
Album: New Clear Days

This is about to get tough for me. It has been pretty easy to be analytical about songs from 1950 and '60 because it was not the music of my youth and I'm pretty disconnected from it. I suspect the 90s and 2000s will fare similarly. But the 1980s....this is the music I grew up with and it holds so much sentimental value that it tends to bypass the brain and go straight to my heart. Simply making a list of songs from 1980 was a difficult task; narrowing it down to seven for this week's posts seems impossible. (It doesn't help that I just realized I gave 1970 an extra song!)

So I'm going to try to pick songs that are perhaps a little off the beaten path, starting with one very few people probably know. If you don't even recognize the band name, that's okay; The Vapors had only one hit called "Turning Japanese." But for me, this was the first band that really made me feel...rebellious. Trust me, I understand how pathetic that is. The end of the 70s brought The Clash, The Sex Pistols, The Ramones—none of that stuff connected with me like The Vapors' New Clear Days, which I listened to whenever I was angry, frustrated or sad. I devoured this album and it's still one of my favorites to this day.

In reviewing songs for this post, I was happy to see how well it holds up. It's really a great pop record, which is probably why I preferred it to the punk bands I mentioned earlier and to other post-punk bands who attained greater popularity. "Spring Collection" has a great riff to open the song, a subtle rhythm guitar part, a clever pre-chorus chord progression, great vocal harmonies and a bouncy beat. This isn't my favorite song from the record, but I think it's a good alternative to "Turning Japanese" for the Vapors novice.

Song #87 of 9999 - No Sugar Tonight/New Mother Nature by The Guess Who

2012-01-15T14:50:00.000-05:00

Song #87 of 9999

Title: No Sugar Tonight/New Mother Nature
Artist: The Guess Who

Year: 1970
Album: American Woman

It's my last day in 1970 and I was looking at a whole bunch of good songs (which I'll keep to myself for future years!), including "American Woman" by The Guess Who. While researching, I discovered that the B-side was "No Sugar Tonight" (remember this still during a time when the record company was willing to put two hits on one 45—can you imagine "Penny Lane" and "Strawberry Fields Forever" on the same single today?). This led me to the album version which is actually quite interesting.

So apparently, Randy Bachman (yes, the same guy from Bachman-Turner Overdrive), came up with this song "No Sugar Tonight," presented it to lead singer Burton Cummings and the record company and it was deemed too short (which is weird because it's the exact song that appears on the single, clocking in at 2:04, but whatever...). Cummings, in the meantime, had written this other song "New Mother Nature," which happened to be in the same key and they figured out a way to join the two and voilà!—album cut.

But what's interesting to me is how well these two verses fit together. I wonder how much, if any, rewriting they had to do to make it work. Bachman's tune has these short, two-beat lines that alternately descend and ascend quickly (8-6-5, 3-4-5), while Cumming's tune has an ascending blues-based melody that requires nearly two bars to get through one line. The way these two melodies blend at 3:54 is really quite clever and seems almost too perfect to be a coincidence. The real stroke of near-genius (I mean, come on—it's The Guess Who, not Beethoven) is the little waltz-like interlude that connects the two songs and I like that they were smart enough to preview it at the beginning of the track, prepping the listener for what's to come. Very intelligent writing from our friends in the Great White North.

See you tomorrow in 1980. Oh, and don't forget I now have a Spotify playlist of all the songs featured in my blog. Become a subscriber!

Song #86 of 9999 - O-o-h Child by The Five Stairsteps

2012-01-14T17:01:00.000-05:00

Song #86 of 9999

Title: O-o-h Child
Artist: The Five Stairsteps

Year: 1970
Album: Stairsteps

I have a list of songs I made from 1970 and there are some good ones on it, but nothing was jumping out at me today. So I decided to dig a little deeper and came up with "O-o-h Child," the sole top ten hit from The Five Stairsteps.

I don't really have a lot to say about this song. I suppose I could talk a little bit about the key changes that allow the verse and chorus to have basically the exact same melody but still sound distinct but who really cares? The song works because it's got a great groove and an uplifting message. Have a great evening everyone!

Song #85 of 9999 - House at Pooh Corner by the Nitty Gritty Dirt Band

2012-01-13T19:03:00.000-05:00

Song #85 of 9999

Title: House at Pooh Corner
Artist: Nitty Gritty Dirt Band

Year: 1970
Album: Uncle Charlie & His Dog Teddy

Had one of those conversations today with a friend at work that I so enjoy. We were talking about this blog and I mentioned the Nitty Gritty Dirt Band and, by extension, the song "House at Pooh Corner." Erik said, "Isn't that Loggins and Messina?" And I was like "I don't think so but I could be wrong." He was certain Kenny Loggins had written the song (he was right) and that Loggins and Messina had released it as a single (he was right again). But thankfully, he went the extra mile and looked it up on the internet only to find that.. I too was right!

It's so funny. I'm listening to the Loggins and Messina version right now and I'm almost certain I've never heard it. The fact that either of us knows anything about this 40-year-old gem is pretty amazing, but the deeper discovery was learning that we have shared memories of two distinct versions.

If you've ever had a soft spot in your heart for A. A. Milne's tale of an overweight bear and his piglet friend, you'll probably enjoy this tune. It's a song I remember fondly from my childhood (I was an Eeyore fan, natch) and it was nice to revisit it this evening!

Song #84 of 9999 - Whole Lotta Love by Led Zeppelin

2012-01-12T21:30:00.000-05:00

Song #84 of 9999

Title: Whole Lotta Love
Artist: Led Zeppelin

Year: 1970
Album: Led Zeppelin II

Recently, I watched the film It Might Get Loud, with Jimmy Page playing superego to The Edge's ego and Jack White's id. Almost any time I see British rockers from the seventies, I'm struck by how smart they are musically and otherwise. (Side note: Queen's Brian May recently earned a PhD in astrophysics. Can you imagine Vince Neil doing this?)

Anyway, I think it's easy to dismiss any group of musicians who play music as powerful and occasionally bombastic as Led Zeppelin's as somewhat less than cerebral. And when you listen to "Whole Lotta Love," you're probably focusing much more on the groove or Robert Plant's wail or Page's amazing solo. Or more likely, you're not focusing at all—this is music that evokes feelings not thoughts. And that's probably what Jimmy Page, the producer, would like you to do. But take a moment to really to all the stuff going on in this tune, especially to what Wikipedia calls the "free, jazz-like" section (really??) and remember that this was 1970. Page, who was a studio guitarist for so many years (yes, that's him playing guitar on Lulu's "To Sir With Love"), obviously gained the knowledge and expertise necessary to stretch the limitations of pop music production in ways that household names like Phil Spector, Brian Wilson, and George Martin had earlier. His contributions to studio production will likely always be overshadowed by the magnificent sum of the parts that is Led Zeppelin (same with John Paul Jones's brilliant arrangements) and/or his extraordinary guitar playing. But it's interesting to step back and listen with slightly different ears to what this studio artist was able to achieve so early in Led Zeppelin's career.

Song #83 of 9999 - The Boxer by Simon & Garfunkel

2012-01-11T22:34:00.000-05:00

Song #83 of 9999

Title: The Boxer
Artist: Simon & Garfunkel

Year: 1970
Album: Bridge Over Troubled Water

Take a few minutes and listen to this song Really listen. It's a song you've probably heard a thousand times, but when you really parse it out, you catch some pretty amazing details that really make the song.

I'll start with the first lick in the guitar. Does this arpeggio have any business announcing the arrival of this song? It's a half-diminished 7th chord (the Tristan chord if you want to get Wagnerian about it) from outside of the key of B Major that emerges with the first verse. A curious choice that definitely gets your attention.

The second verse introduces what sounds like an ailing bari sax but turns out to be a bass harmonica! It's such a bizarre and unexpected texture. The light percussion helps a lot too. I mean, is it necessary? Probably not—these guys have your attention with the lyrics, the hypnotic guitar picking and vocal harmonies. But it's so inventive and pleasing to hear all of this stuff. They're like a solemn and dignified jug band.

There's other stuff, but let's talk about the vocal harmonies. They're glorious of course, but more than that, they're so well-constructed and different in every verse. Does the song start to get long by the fourth verse? We'll never know because of the brilliant turn that happens on the words "bleeding me" at 2:39, as the harmony is directed to the mediant (iii) for the first time in the song. It's one of my favorite moments in this or any song. So smart.

And then the home stretch. The "Lie la lie" chorus, originally intended as a placeholder for lyrics yet to be written, becomes the commiserate rallying cry of everyone whose ever been down on their luck even for a moment. The buildup is grand with strings that are nice and dark and a gradual increase in reverb that washes over everything. "The Boxer" tends to get overshadowed by "Bridge Over Troubled Water," released later that year, but for my money, it's Simon & Garfunkel's greatest record from top to bottom.

(I'm just going to acknowledge that this song may have actually been released in 1969, not 1970. But I already wrote all this stuff and don't want to wait until....let's see....November to tell you about it!)

Songs #80 & 81 (and 82!) - It's TWOsday!

2012-01-10T20:05:00.000-05:00

Song #80 of 9999 Song #81 of 9999

Title: My Sweet Lord Title: He's So Fine

Artist: George Harrison Artist: The Chiffons

Year: 1970 Year: 1963

Album: All Things Must Pass Album: He's So Fine

The plagiarism suit brought against former Beatle George Harrison for his massive hit "My Sweet Lord" seems like the kind of thing most pop music fans would already be aware of, but I'm going to assume that my young hip audience who were surely born after 1980 don't know about it. Which means all of you people in the know are just going to have to deal.

The infamous case of Brightsongs Music v. Harrisongs Music lasted over ten years and ended with the decision that Harrison "subconsciously" copied "He's So Fine" by The Chiffons. There is no question that the songs are melodically the same and the chord structure is only slightly more complex in Harrison's song. (Those slight differences go a long way for my two cents—one of the great strengths of Harrison as a songwriter is his transitional progressions.) Harrison was ordered to pay damages in the amount of 1.6 million dollars, but managed to shave a million dollars off the fine by essentially buying the rights to "He's So Fine" during the course of the trial! (Technically, his former manager Allen Klein purchased the rights and he paid Klein but who's counting?) I guess the moral of the story is, if you're going to steal something from someone, make sure you have the money to pay for it if you get caught. Then keep selling it for as long as you can until you break even and eventually turn a profit.

I personally don't find either of these songs to be all that good or inspiring (so many better George tracks out there), but I was excited to learn that Harrison actually had the Edwin Hawkins Singers' "Oh Happy Day" in mind when he wrote his track. I actually think that makes a lot of sense because the two songs seem to have a common vibe that links them even more strongly than the identical melodies and chord progressions of "My Sweet Lord" and "He's So Fine." That being said, let's turn this into a TRIPLE PLAY TWOSDAY! I actually think this song is better than either of the two that are the subject of this post. So there.

Song #82 of 9999

Title: Oh Happy Day
Artist: Edwin Hawkins Singers

Year: 1967
Album: Let Us Go Into the House of the Lord

Song #79 of 9999 - Big Yellow Taxi by Joni Mitchell

2012-01-09T21:00:00.000-05:00

Song #79 of 9999

Title: Big Yellow Taxi
Artist: Joni Mitchell

Year: 1970
Album: Ladies of the Canyon

Joni Mitchell is one of those artists I'm expecting to really dig into one day. I know her hits pretty well but I've never owned a record and I couldn't tell you much about her back catalog. But she really intrigues me and I think she is truly the kind of talent that only comes around once every twenty years or so. (Who's her 1990 predecessor then? Probably Björk.) Looking at this concert video from 1970 (here's the studio version, which is better if you've never heard it, but I rather enjoyed this video), it's hard to imagine someone like her making it today. She looks kind of gawky and I can just imagine some record exec telling her to get her teeth fixed or something. But she's obviously a natural performer in the same way Ani DiFranco is (oh wait, maybe she's the 1990 predecessor) and I have to believe she would have found her audience anyway.

"Big Yellow Taxi" is great from the perspective of the message but it's the hook everyone should really be enamored with. The catchiness of a hook is one of those things that often can't be measured and this one is so amazing, I feel a little awkward even trying. But I think in this case, there are two factors that make it work as well as it does. First, the vowel/consonant-pitch connection. When she sings "pave paradise," that upward-bended "i" sound is real open-ended and let's you know there's something else coming. Then she sings "put up a parking lot" and the word "lot" just slams the door with its brevity. But the real factor that makes this (and so many) hooks work so well is the setup. The lines that precede the hook—"don't it always seem to go/you don't know what you've got til it's gone"—are shot out of a cannon and float back to the surface like feathers, covering more than an octave in the course of two bars. If that doesn't get your attention, nothing will! And at that point, the hook is waiting for you and you are defenseless.

Song #78 of 9999 - No Matter What by Badfinger

2012-01-08T12:26:00.000-05:00

Song #78 of 9999

Title: No Matter What
Artist: Badfinger

Year: 1970
Album: No Dice

I thought I'd start 1970 with the birth of a genre that has meant a lot to me over the past ten years or so: power pop. Before there was Elvis Costello, before there was Cheap Trick, before there was Weezer, even before there was Big Star, there was Badfinger. And, although we can debate about exactly when power pop came into its own (it would be fair to start with The Kinks five years earlier), the sound people really associate with the style is encapsulated in this 1970 release by Badfinger.

Badfinger was one of the first bands to be signed to The Beatles' Apple Records. Paul McCartney even wrote and produced their first hit, "Come and Get It" (check out this demo of McCartney performing the song—it's really excellent.) Their sound so resembled The Beatles that rumors circulated that Badfinger was, in fact, The Beatles making an effort to record music in secret to avoid the immense pressure and scrutiny of the press and public.

I like "No Matter What" because of the hooks of course, but also for the use of a rhythm guitar tone that I think really epitomizes the power pop sound. The video shows Ham playing a Gibson SG, which is likely the guitar on the recording and maybe the guitar supposedly given to him by George Harrison. It's the same guitar Pete Townshend favored and shows up in the hands of other power pop guitarists from groups like The Raspberries and The Cars.