Song #166 of 9999 - Perfect Day by Lou Reed

Song #166 of 9999

Title: Perfect Day
Artist: Lou Reed
Year: 1972
Album: Transformer

"Walk on the Wild Side" and "Satellite of Love" garner most of the attention where Transformer is concerned and rightfully so. The former is a flat-out masterpiece and the latter cheeky and forward-thinking. As clever as the two lead singles are, it's "Perfect Day" that seems to have the lasting appeal. Twenty-five years after its release, the original appeared in a hit film (1996's Trainspotting) and a cover version recorded by an "astonishing line-up of world-class performers" topped the charts in the UK in 1997 as it raised money for the charitable organization Children in Need. Covered at least a dozen times, even Lou Reed himself re-recorded the song for his 2003 album The Raven.

Produced by David Bowie, "Perfect Day" assumes a bit of the grandiose fervor Bowie brought to "Life on Mars" the previous year. A circle-of-fifths chord progression meanders its way through the key of Bb Minor, borrowing here and there from the parallel major before settling on the dominant (i-IV-VII-III-VI-iv-V). That the progression confuses some (see the unfortunate Wikipedia article) is not unexpected as the intro commences with the dominant F Major and gives the strong impression that F is the key (I-iv rather than V-i) before proceeding down its windy road. When the chorus arrives, it comes with a thrilling mode change to Bb Major (I-IV-iii-IV/I-V-vi-V-IV-vi-V-IV) to support a soaring vocal.

Whether the song is about heroin or not doesn't really matter. If it is, it's absolutely brilliant ("It's a perfect day/I'm glad I spent it with you"); if it isn't, it's really lovely and sweet ("Just a perfect day/You made me forget myself"). Either way, it's a gem worth remembering and still sounds fresh after forty years.

Song #165 of 9999 - Woman is the Nigger of the World by John Lennon

Song #165 of 9999

Title: Woman is the Nigger of the World
Artist: John Lennon
Year: 1972
Album: Some Time in New York City

I'll be the first to admit this is not my favorite John Lennon song and Some Time in New York City is not a very good album. But, given the current state of affairs in this country (i.e. the so-called "War on Women" with its vaginal probes and ongoing efforts to curtail women's reproductive rights) and the absolutely horrific treatment of women in some nations around the world, perhaps it's worth revisiting this 40-year-old(!) song.

The title and thesis of Lennon's song was first stated by his progressive (and notorious) wife Yoko Ono in a Time Magazine article in 1969. Lennon admitted in an interview with Dick Cavett (worth watching here) that it took some time for him to shed his own chauvinism toward women but he ultimately agreed with Ono's statement and was inspired to write what is typically regarded as the first anthem of the women's rights movement. While many questioned the use of the word "nigger," it is undeniably provocative which is kind of the point of the song. I suppose the danger is that people will be so offended by the title, they won't stick around for the song; but if you're willing to listen, the message is strong.

Sadly, I can't imagine any record company allowing the recording and distribution of this song by a major artist today nor do I think one of these artists would be willing to make such a bold statement. As accepting as we've become of profanity and explicit sexual and violent content on records, strong political statements seem to have disappeared from the music of our most popular musicians. For that reason, I guess I should be happy that so many of Lennon's recorded sentiments still apply today. But I'm not.

Song #164 of 9999 - Go All the Way by The Raspberries

Song #164 of 9999

Title: Go All the Way
Artist: The Raspberries
Year: 1972
Album: Raspberries

In my defense, I was only three when this song came out, but I still regret that I didn't write it. 

For the record, this is what Eric Carmen sounded like before he started singing about "Hungry Eyes." 

I could explain why this song is so great but it would be a dry and boring discussion about chord progressions and song structure and well, tonight I'm just going to spare you all of that and let you enjoy one of the defining songs of the power pop genre.

Just listen to the song—maybe dance around your house or office a little—and forget about everything else for a few minutes.

See you tomorrow!

Song #163 of 9999 - The Needle and the Damage Done by Neil Young

Song #163 of 9999

Title: The Needle and the Damage Done
Artist: Neil Young
Year: 1972
Album: Harvest

 

To me, the Y in CSN&Y always seemed like a square peg trying to fit into a round hole. Although Neil Young's association with the vocal group made sense on a philosophical level, especially when it came to writing timely protest songs ("Ohio" comes to mind), musically they seemed miles apart. Young always struck me as more original, more daring, more experimental (anyone remember the immensely interesting flop called Trans?) and I think the proof is in his solo work. While Crosby, Stills and Nash continued to attach their beautiful harmonies to songs of little emotional depth (see "Southern Cross"), Young moved toward more personal topics, both biographical and autobiographical.

"The Needle and the Damage Done" is heavy before the needle even touches the record. The title alone gives us some clues about the subject (heroin addiction) while Young's lyrics offer three parts lamentation, one part cautionary tale. Not that Young was one to clean up recordings or fix out-of-tune vocal tracks, but the choice to use a live recording for the record adds an air of vulnerability to the track that I find compelling.

Finally, as many times as I've heard the song, I'm still impressed by the creatively constructed chord progression. I've never heard another song that combines this common semi-chromatic descent (D-C-B-Bb) with the equally common blues shuffle riff (A-C#-E-F#-G-F#-E-C#). To make matters even more interesting, it's downright difficult to tell what key the song is in. Most pop songs have either a traditional V-I cadence to restart the progression (or a IV-I), but this progression ultimately settles on a II (E Major) before returning to I. (The entire verse progression for those who care about such things: D9 D9/C D9/B Bbmaj7(#11) C F Esus4 E) The overall effect is one of a never-ending loop (which Young chooses to end unresolved on the Bb chord), perhaps an unconscious representation of the never-ending spiral that haunts so many addicts.

Songs #161 and 162 - It's TWOsday!

Song #161 of 9999                                                  Song #162 of 9999

Title: Thirteen                                                          Title: That Teenage Feeling
Artist: Big Star                                                         Artist: Neko Case

Year: 1972                                                               Year: 2006
Album: #1 Record                                                   Album: Fox Confessor Brings the Flood

It's late and I'm tired but I didn't want to miss a night when I just got this thing restarted! But I may not have brilliant things to say. I'm just giving you fair warning.

I'm pairing up two songs I think are amazing for the way they capture the innocence and excitement of adolescent love. I must admit I first heard Big Star's "Thirteen" performed by Elliott Smith circa 1997 when I was downloading everything I could find by the late singer-songwriter. I remember vividly hearing him play it in a club that year and it was quite moving. In retrospect, the Big Star original is better. Alex Chilton's warble sparkles against the backdrop of so many trebly acoustic guitars and the backing vocals add a dimension lacking from almost every cover. The overlooked guitar solo is also really great with its jangly layers and before-the-beat syncopation. It's a beautiful recording.

Whereas Chilton's song really seems to capture young love in the moment, Neko Case's "That Teenage Feeling" is written from the perspective of an adult who can still remember what it feels like to fall in love as an adolescent and yearns for the return of that feeling. The 12/8 feel of the accompaniment gives the impression of prom night circa 1957 and the vocal arrangement hearkens back to the girl groups of the same era. The chord progression of the verse is complex, occasionally meandering, but when the song opens up and reveals the chorus, it's a magical moment. But you better not miss it because she only gives it to you once! It's as fleeting as the feeling it aims to portray.

Song #160 of 9999 - Mother and Child Reunion by Paul Simon

Song #160 of 9999

Title: Mother and Child Reunion
Artist: Paul Simon
Year: 1972
Album: Paul Simon

How interesting that Paul Simon's first single following the dissolution of his partnership with Art Garfunkel exclaims the promise of a reunion! It's just a coincidence of course as "Mother and Child Reunion" has nothing to do with Garfunkel. In fact, it's rather difficult to determine just what the song is about specifically. Simon has a way with implying ideas and evoking feelings without ever revealing too much detail for the listener. (He does something similar with "Me and Julio Down By the School Yard," where he lets you know a crime has been committed but never relinquishes the details.) It takes only a handful of simple phrases (mother and child reunion, course of a lifetime runs/over and over again) to tap into some primal territory for most listeners: the bond between a mother and child, the mystery and heartache of life and death, the promise of an afterlife.

Musically, the song seems more celebratory than funereal. Simon is already showing his penchant for world music by setting the song against a reggae backbeat played with uplifting verve by Jimmy Cliff's backing band in a Kingston recording studio. The forward placement of the backing vocals in the mix gives the song a gospel tinge and the tremolo guitar helps propel the song forward. I like that the arrangement sounds loose even though every instrument is so neatly in its place.

As a songwriter who sometimes find inspiration in the strangest places, I can't help but share this final note even though it may make be a detractor for some: apparently the title "has its origin in a chicken-and-egg dish called 'Mother and Child Reunion' that Simon saw on a Chinese restaurant's menu" (Wikipedia). Precious.

Good to be back—see you tomorrow!

Blog Returns April 16

I have one more big thing at work I have to deal with and then I get my life back. Blog returns April 16!