Tuesday, December 31, 2019

Year End 2019: Top 10 Books I Read

Welcome to the first part of my year end 2019 lists. This post will be dedicated to the top ten books I happened to read this year, not necessarily that came out this year. Last year I restricted the list to strictly music books, but I thought it might be fun to venture out this year.


Image result for the minus times collected

The Minus Times Collected edited by Hunter Kennedy
This book is a compilation of 20 years of the Minus Times zine, which was essentially an experimental fiction mag that also incorporated some interviews, playlist recommendations, etc. It was an incredibly varied magazine and featured some contributions from the likes of Stevn Colbert, Harmony Korine, and Sam Beam. Definitely a weird read, but if you're into experimental fiction or weird short stories, maybe give it a shot.

Image result for ready for a brand new beat
Ready for a Brand New Beat by Mark Kurlansky
This book focuses a lot on the song 'Dancing in the Street' and its role in the civil rights movement. It also goes into a lot of early Mo-Town history and the history of the early '60s, which is pretty cool for those interested. There's also an extensive list of all the acts that have covered the song. There's a lot more than you would have thought.

Image result for sway zachary lazar
Sway by Zachary Lazar
Zachary Lazar approaches some of the dark parts of the late '60s in a very interesting way, essentially blending fact into fiction to portray the lives of The Rolling Stones, Bobby Beausoleil, Kenneth Anger, and Charles Manson around the time Lucifer Rising was in  early development. For those who are interested in that time period and gobble up all the info on that era, it might be worth it to check out this novel.

Image result for 33 1/3 holy bible
33 1/3: The Holy Bible by David Evans
David Evans contributes a book length essay on the Manic Street Preacher's Holy Bible album. It's less of a track by track review, and more of a personal reflection combined with its overall look at the band and Richey Edwards around this time, as well as the band's Welsh heritage and culture. As a huge fan of this album, I was very excited to see the addition of the record to this long running book series.

Image result for dune frank herbert ace
Dune by Frank Herbert
What do I say about Dune that hasn't been said a million times before? It's essentially the greatest science fiction novel ever written, and I'm ashamed to finally just now getting around to reading it. Herbert's scope and level of detail in his world building is incredibly intricate, and I'd say only surpassed by the likes of Tolkein (I didn't see him invent languages from whole cloth is all I'm saying).

Image result for mick fleetwood play on
Play On by Mick Fleetwood
I'm not super into Fleetwood Mac, so I thought I might give this autobiography by the founder and drummer a read. It's pretty in depth into the history of the band and gave me a lot of insights as a relative newcomer that I would not have had otherwise. It actually expounds a lot on the pre- Buckingham Nicks period (yes they existed almost a decade before, get over it), but unfortunately it was published a little to early to comment on Lindsey's firing from the band. That would've been pretty interesting.

Image result for stephen king night shift
Night Shift by Stephen King
Stephen King is an author I'm pretty late to the party on, which is a bit of a blessing because I can pick up his books in Goodwills and free book bins all over the place and not go broke. I feel like he's at his best when he's given a little restriction in shorter works like this collection. King has a nasty habit of overwriting , and this short story collection keeps things concise and on point. This is pretty early King, and his Lovecraft influence is fully on display, which for a fan of Lovecraft, is a good thing.

Image result for perfume patrick suskind
Perfume: The Story of a Murderer by Patrick Suskind
I saw this book used and figured I should know what this fuss is all about. Having first heard of it through Kurt Cobain's interpretation of it as 'Scentless Apprentice', I gave it a read and was sucked into the world Suskind created. Inever knew how evocative a book could be, as the author tries very hard to convey smell, taste and other sensory qualities through written word. I'm looking forward to watching the film adaptation and the new TV series and seeing where they take the material.


Image result for inherent vice book
Inherent Vice by Thomas Pynchon
Though by most this is given up as the most accessible Pynchon novel, its intricate plot, hallucinogenic haze and overall sense of confusion has me intimidated going  into my next Pynchon novel. This book reminds me a lot of The Big Lebowski on steroids, in that it's a detective story with a clueless drugged out hero, but the twists and turns this story goes through and the extensive cast of characters puts that movie to shame. I've picked up the Paul Thomas Anderson movie, but I've yet to give it a watch. Movie review, perhaps?

Image result for touch and go 79-83
Touch and Go '79-'83 by Tesco Vee & Dave Stimson
This is a volume of the collected run of the punk rock fanzine that led to the label that gave us so much great music. I really enjoy reading contemporary reviews with a bit of hindsight (like where they were afraid that the Cure would never make it state side because they were "just too good"), and reading this book really got me going down some web holes searching for the more obscure bands the zine covered. Sure, we've all heard of X, Black Flag, and Minor Threat, but now I'm scouring the internet for Destroy All Monsters (they might be famous in Michigan, but not here) and other bands time forgot.

Check back in soon for more of the year end 2019 lists. Next up, top 5 disappoiting albums of the year, followed by (re)discoveries and the top 2019 albums.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Friday, December 27, 2019

Golden Nuggets #10: Diana Ross & The Supremes- Someday We'll Be Together


Image result for someday we'll be together

Welcome to the tenth edition of the Golden Nuggets series, where I take a look at the number one song on the Billboard charts from 50 years ago and reflect on the music of the past. Today we'll be taking a look at the song 'Someday We'll Be Together' as performed by Diana Ross & The Supremes. If you've never heard the song, or could use a reintroduction, you can take a listen to the song here.

'Someday We'll Be Together' was originally recorded by the group Johnny & Jackey in 1961, and was written by Johnny Bristol, Jackey Beavers and Harvey Fuqua. When the Tri Phi record label for which the song was recorded was purchased by Mo-Town later into the 1960s, the songwriting team also moved to the Detroit powerhouse, with Beavers subsequently leaving for Chess records. 

We fast forward to 1969, where Johnny Bristol had created a new arrangement and instrumental backing track of the song, originally intended to be given to Jr. Walker & The All-Stars. However, when Berry Gordy heard the new arrangement, he thought it would be perfect for the solo debut of his superstar and love interest, Diana Ross. Unfortunately, Diana proved to be pretty uncomfortable performing the song in the studio, and required encouragement from Bristol, whose ad libs and words were captured on Ross' vocal take. In the end, this was eventually marketed as the final Supremes single, even though no other member of the group made any vocal contribution.

It's very easy to see that this is during the end of the Supremes life cycle, as Berry Gordy is focusing exclusively on Diana Ross, not even giving the other members backing vocals. It also has a bit of a bittersweet finality to it, both in lyrical content and in sound, contributing more to the feeling that the group's demise had come. As a song, it's okay I guess. A little too mid paced and sentimental for my taste, as I generally like my Mo-Town hits on the upbeat and bouncy side. That may be why Gordy made this the final Supremes single and not Ross' debut; that would be a pretty unexciting first song and not exactly starting a solo career on the best foot.

It also feels fitting that this song with its sense of closure would be the final number one single of 1969, and though the song had been released in October, it took until New Year's Eve time to reach that spot.

So, that's it for Golden Nuggets for a minute. I'll be back soon with the first number one of 1970, 'Raindrops Keep Fallin' On My Head' by B.J. Thomas, but until then, I'll be trying to pump out some 2019 year end lists. I've decided against a decade list since that'd be a lot of me rehashing my old year end lists. Until next time.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Golden Nuggets #9: Peter, Paul & Mary- Leaving on a Jet Plane


Welcome back to the ninth installment of the Golden Nuggets series, where I take a look at the number one song fom the Billboard charts of 50 years ago and reflect on the listening taste of a past America. This time, I'll be taking alisten to 'Leaving on a Jet Plane' by the group Peter, Paul & Mary. If you've never heard the song, or need a refresher, you can take a listen here.

This song was originally written by John Denver, but its most popularly known rendition is the one by Peter, Paul & Mary. The group mixes pretty traditional folk music with a little bit of pop, but I can't say I'm too much of a fan outisde of their take on 'Puff the Magic Dragon'. They try to mix Pete Seeger with stuff like the Mamas and the Papas, but to me it sounds a little bit too much like the New Christy Minstrels for my taste. It's just a little too clean for me, and older folk revival stuff like Joan Baez and the like suffer from this too. I'm super into Neil Young, Bob Dylan and even Joni Mitchell, but this stuff is just too squeaky clean.

It doesn't hurt that this song is incredibly underwritten. I listened to the John Denver version as well, to see whether or not the group was butchering it, but his is even more boring to me. Apart from the unintended irony of John Denver singing about leaving on a plane, which is just morbid and cringey, I don't get a whole lot out of it. It's just a silly little love song that's far too wholesome for its own good. At least Peter, Paul & Mary tried to add some harmonies and depth to the arrangement, not that it did much good in my eyes.

I guess this is one of the more negative reflections I've done in this series, and I really don't mean to be so harsh, but I feel like there was so much better music and folk music in particular coming out in 1969 (Crosby, Stills & Nash's debut immediately comes to mind) that I can't just give this middle of the road song a pass. I guess this goes to show that music always looks better in hindsight. What our parents said was the best generation for music had good stuff, yes, but that's not always what the American public made the most popular. Some things never change.

Stay tuned for the next installment of the Golden Nuggets series, 'Someday We'll be Together' by Diana Ross & The Supremes, along with a series of 2019 year end lists.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Golden Nuggets #8: Steam- Na Na Hey Hey, Kiss Him Goodbye


Image result for steam na na hey kiss him goodbye

Welcome back to my perpetually behind next installment of the Golden Nuggets series, where I take a look at the number one songs on the Billboard charts from this week (I try to) from 50 years ago, and reflect on the listening habits of America from days gone by. This spotlight is on the band Steam, with their hit song,' Na Na Hey Hey, Kiss Him Goodbye'. If you unaware of the song, or just want to refresh your memory, you can listen to it here.

To be honest, I wasn't even sure if I knew this song when I saw the list for the next #1 song. From the title, I had a guess, and I guessed right. This song is very popular at sporting events and the like, though I had only ever heard the chorus until listening to the song for this reflection, and in reality I wasn't missing much. I had also never heard of the band Steam, which was apparently a studio creation formed to credit the song to, though it was actually written and performed by Paul Leka, Gary DeCarlo and Dale Frashuer. Allegedly, this song was also a joke relegated to the b-side of another song meant to be the main single, but nobody realized the mostly worldess chorus was in jest, and the song became a hit regardless.

This studio entity managed to record one album under the Steam name before disbanding shortly after, but their one hit has stood the test of time. It's kind of amazing that I had heard this song so many times at sporting events, on commercials and elsewhere but knew virtually nothing about the musicians who created it. I feel like back in the '60s and '70s one could fluke their way onto the charts with a hit while simultaneously being completely unknown and fading just as quickly, which seems just so impossible now, for better or worse. 

As for the song, the chorus is an earworm, but the verses are filler at best. I can totally see how this was allegedly the b side for another song, as I don't really gravitate to this song in the slightest. I feel it has only stood the test of time by its singsong chorus taking on a bit of a mocking tone, which I'm sure has led to this being a staple of many drunken post breakup karaoke sessions the world round.

Check back in very soon, as I'll be trying to catch up on this series (the next entry will be 'Leaving on a Jet Plane' by Peter Paul and Mary), as well as put out some year end lists that hopefully are released not too long into the new year if I can help it. Cheers, and happt holidays.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Friday, December 13, 2019

Golden Nuggets #7: The Beatles- Come Together


Come Together-Something (single cover).jpg

Welcome back to the Golden Nuggets series, where I take a look at the top song on the Billboard charts from 50 years ago, share my opinion, and reflect on the listening take of the American public of generations gone by. As is becoming an unfortunate tradition, I'm a little behind on the schedule, but I'm trying to close the gap. This edition is dedicated to the one and only Beatles, with their song 'Come Together', which was the number one song during the end of November/beginning of December, 1969. If you've never heard the song (which, honestly, seems impossible), you can take a listen to the song here. With that out of the way, let's proceed.

To me, this has always been one of the more strange Beatles singles. Obviously, the lyrics are purposefully obtuse, a little comical in places (of course he has feet below his knee, unless they were amputated), and nonsensical, but I also find the sound of the song itself a little out there. The little chorus riff and the outro sound normal enough, but the sonic backdrop to the verses and that weird whooshing sound (is that a synth or just a vocal?) doesn't really sound like something that would be topping the charts. However, the Beatles make it work.

There have been countless covers of this song over the years, probably the most notable being Aerosmith's cover for the Sgt Pepper's Lonely Hearts Club Band movie, the Joe Cocker cover in Across the Universe or the Gary Clark Jr. version for the terrible Justice League. I'd say either the Beatles version or the Joe Cocker version is my favorite; the former for being tightly arranged but stil sounding a little out there and appearing a little loose at first listen, and the latter for having such a soulful yet eccentric vocal delivery (plus the accompanying visuals of Cocker dancing/ doing air guitar is always extra points).

To be honest, I know a lot of the listening public in 1969 just drove this to the top because it was the Beatles. It seems pretty tame now, but after taking a look at a lot of music that topped the charts during this time, this was a lot more adventurous than the typical pop song of the day. I honestly don't have a lot more tosay about this song, since I feel like the amount that has been said about the Beatles could probably fill a library on its own, so I'll leave it here.

Stop back in soon for my next installment of the Golden Nuggets series,
'Na Na Hey Hey Kiss Him Goodbye' by Steam.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Tuesday, December 3, 2019

Golden Nuggets #6: The 5th Dimension- Wedding Bell Blues


Wedding Bell Blues - 5th Dimension.jpg


Welcome back to the Golden Nuggets series, where I take a look at the number 1 song on the Billboard charts from 50 years ago, share my thoughts, and maybe put it into context or share the taste of the listening public from back in the day. Sorry, this one is a little late. Holiday season and all. With that out of the way, the song we're looking at today is 'Wedding Bell Blues' by the 5th Dimension. If you're unfamiliar, you can take a look at the track here.

The 5th Dimension were a pretty popular R&B/pop group in the late 60s and early 70s, and are actually one of my favorite vocal groups in this vein. You may also know them for their incredibly famous cover of 'Aquarius/ Let the Sunshine In' from the Hair soundtrack. The song we're listening to today is also a cover, this time from the likes of Laura Nyro. The song is a showcase for member Marilyn McCoo, who longs to be married to her boyfriend named Bill. Strangely enough, she was engaged to member Billy Davis Jr. at the time, though the name was actually retained from the Nyro original. The song choice was almost too perfect.

I really enjoy the song, and I think it's a pretty great display of the power of the group. I would very much like to hear the suite version of the song that Laura Nyro initially proposed before being vetoed by producers. I think it could have been something pretty special. I feel like a lot of people my age probably first heard this song through its incorporation on an episode of Gilmore Girls, which is some indication that this song still retains some interest even into the 21st century, long outlasting the typical and expected shelf life of your traditional boilerplate pop tunes.

 Next time, I'll be taking a look at a song and a band that probably need no introduction: 'Come Together' by the Beatles.



"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Friday, November 8, 2019

Golden Nuggets #5: Elvis Presley- Suspicious Minds


Elvis presley suspiciousminds.jpg

Welcome to Golden Nuggets, where I take a look at the American listening habits of yesteryear by taking a listen to the number #1 song on the Billboard charts that week or weeks from 50 years ago. In this fifth installment, we'll be taking a listen to 'Suspicious Minds', as performed by Elvis Presley. Now, normally, I would give a brief summary of the artist in question, but I don't really think anyone needs an introduction to Elvis, so let's just cut to the analysis. Take a listen to the song here.

To get a picture of my opinion, I believe it was a Quentin Tarantino film that said you're either an Elvis or Beatles fan. Though I feel like a more accurate comparison is Beatles or Stones, for the sake of argument, let's use the original two. I fall squarely into the Beatles camp. I can see his role in the popularization of rock and roll to more mainstream (aka whiter) audiences, and a lot of 60s and 70s rock acts that I enjoy speak highly of Elvis, but his music is not really for me. I think it comes down to his exaggerated vocal delivery. With that being said, this song is pretty good. Catchy melody, solid topic, and much better production and arrangement than the Mark James original. His vocal delivery does kind of get in the way for me, but I can see why this song was partially responsible for his comeback into the charts in the late 60s. For my money though, the best version is the Dee Dee Warwick version. The horn section is a little overpowering at points, but her soulful delivery and the lively arrangement brings the song to a whole new level. 

This song was only number one for the week of November 1st, 1969 (sorry, I know I got this post in a little late), and really rejuvenated Elvis' career, and this song has led to many other successful cover versions. Maybe it would be fun to kill an afternoon scouring the internet looking for the wildest rendition of 'Suspicious Minds'. As for me, I'm off to do some more research on our next Golden Nugget, 'Wedding Bell Blues', by the 5th Dimension.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Friday, October 25, 2019

Golden Nuggets #4: The Temptations- I Can't Get Next to You


Image result for the temptations i can't get next to you

Welcome to the fourth installment of the Golden Nuggets series. For those new to the series, I look back on the #1 song on the Billboard charts from 50 years ago, in a way to discover what was the most popular song to the American consciousness at that time and see how radically things have changed. For this edition, we're taking a look at 'I Can't Get Next To You' by the Temptations, which reigned as #1 during the weeks of October the 18th and 25th, 1969. Before we proceed, let's get acquainted with the song.

Now, the name the Temptations is not foreign to me, but a lot of their music is. Them being from the Motown crop of artists makes this fact even more surprising, Motown really was an unstoppable hit machine in the sixties, and the Temptations helped contribute to that success, though they were also quite different. In my research, I learned that this group (along with Sly and the Family Stone in my opinion) pioneered the idea of psychedelic soul music, which in time would give way to funk. It's very easy to see how funk could come from a group that produced 'I Can't Get Next to You', with its very rhythmic guitar playing and insistent groove. It sounds like something you'd hear a little later on a Parliament or Stevie Wonder record.

I also find it interesting that this was put out on Motown. Motown was hardly known for innovating, as it was more focused on songwriting by committee and pumping out hits. It must have been a struggle for the group and its producer/writer team Barrett/Strong to wrest so much creative control from the label to put out some more experimental material. The album this single was cut from, Puzzle People, as well as its follow up, Psychedelic Shack, sound nothing like the sound Motown had become so famous for, the latter record most of all. On the record, there was some decidedly political songs, namely 'War', made most famous by the Edwin Starr cover, which Berry Gordy would have disliked because its message would have cut into sales by alienating more conservative buyers. The fight to get Marvin Gaye's What's Going On is pretty much legend at this point, and I assume it must have been difficult for them as well, though not being related through marriage probably helped, since Marvin Gaye being Gordy's brother in law may have strained that relationship.

It's a little hard for me to get a lot out of 'I Can't Get Next To You'. I can respect it for the groundwork it laid towards the advent of funk and more experimental R&B and soul music, but it's hard for my ears, that have absorbed so much Parliament/Funkadelic, Stevie Wonder, Rick James etc., to appreciate the genre at its most primordial, which is something I find difficult with many genres (though I don't really experience this problem with Sly and the Family Stone). When you've heard something like Biggie or Wu-Tang, something like Sugarhill Gang can seem a little, well, basic and rudimentary. It doesn't make that group bad, but the sound has progressed so far since that initial inception point, and it's a little harder to get into without some added context. Maybe a hot take, but just my opinion. I respect it a lot more than I enjoy it, but to the 1969 music listening public, it was cutting edge.

So, that's pretty much the extent of my opinion on 'I Can't Get Next to You' by the Temptations. Next time, I'll be taking a look at Elvis Presley's one week return to #1 with 'Suspicious Minds'.



"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Friday, September 27, 2019

Golden Nuggets #3: The Archies- Sugar, Sugar


Image result for archies sugar sugar


Welcome to the third entry in Golden Nuggets, a series in which I research, describe and review the #1 song on the Billboard charts from 50 years ago. I find it interesting to see where pop music was half a century ago. For this entry, we're taking a look at a song that for 4 weeks dominated the charts in the fall of 1969, 'Sugar, Sugar' by the Archies, arguably the first virtual band. Gorillaz fans, eat you hearts out.

The Archies were assembled to be a fictional band for The Archie Show, based on the characters from Archie comics. People from my generation and later may be familiar with these characters through their progressively more ridiculous CW show and through Sabrina the Teenage Witch and its reboot to some extent (Sabrina was in some of Archies content). I'm going to digress a bit to rag on the new CW show a bit. At first it was harmless enough, like a dumber CW Twin Peaks, but then much like that show it started going waaaay off the rails. During the third season, I feel like David Lynch himself would've tapped out due to excessive weirdness and lack of any sort of grounded reality or narrative structure. Where was I? Oh, yeah, the Archies.

 The "band" consisted of mostly session musicians assembled by Monkees manager Don Kirshner, with Ron Dante and Toni Wine handling the majority of the male and female vocal duties, respectively. The group released singles and albums from 1968 to about 1973, with some moderate success outside of 'Sugar, Sugar'. Their follow up, 'Jingle Jangle', scraped into the top ten in the same year, and it makes me laugh, because if you've seen the new show, Jingle Jangle is the name the creators concocted for their universe's street drug. A nice call back.

Now that we've got the history out of the way, let's talk about the song. You can listen to the song here. I made sure to pick the animated video complete with intro, because it deserves to be seen in all its '60s cheese. 'Sugar, Sugar' is pretty much the perfect example of 1960's bubblegum pop. It definitely sounds like something the Monkees would have released, which is probably way there's a pretty persistent rumor that songwriters Jeff Barry and Andy Kim originally offered the song to them, though they deny this. It's pretty fun and bouncy, and harmless enough. It also has quite a lasting reputation. I remember it being used in a Simpsons episode, which has become a meme all its own called Sugarposting, as well as a sample in this monstrosity which my girlfriend introduced me to, which is simultaneously the best and worst thing ever. Needless to say, people remember the song.

So, what do I think of it? I like the song fine. I feel like I'd like it a lot more if I had more of a nostalgic connection to it, like early Beatles songs or the Monkees or something like that. It's definitely catchy as all hell, so sorry in advance if I ruined the next couple of days for you by getting it stuck in your head. I also find it interesting that with all the parallels between the late '60s and today politically, the listening public back then still had the stomach for something so sweet. Pop music is considered upbeat today if it doesn't have a reference to depression of substance abuse on it. It's really interesting to see how times have changed.

I'll be back soon with another entry of Golden Nuggets. Next time, I'll be covering 'I Can't Get Next to You' by the Temptations. In the meantime, I'm sending out an open call: I want to hear your music! I haven't really been keeping up to date on new music, so I thought I might try my hand at reviewing submissions. If you send me a link to your stuff to dedwax13@gmail.com I'll take a listen and give you some constructive feedback. Who am I to review your music? Just a music fan, nobody special, but hey, at least it'll get out to more ears. Until next time.




"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Thursday, August 22, 2019

Golden Nuggets #2: The Rolling Stones- Honky Tonk Women


RollStones-Single1969 HonkyTonkWomen.jpg

In this edition of Golden Nuggets, a feature in which I spot light and critique the number one song the Billboard chart from fifty years ago, I will be taking a look at the Rolling Stones' deep dive into some low down southern rock on 'Honky Tonk Women'.

In the first episode, I covered Zager & Evans' one hit 'In the Year 2525 (Exordium and Terminus)', which led me into a lot of research to figure out who the band were, listen to the song for the first time,etc. That was not the case for our sophomore episode. Everybody knows the Rolling Stones, and 'Honky Tonk Women' is a pretty big song of theirs, at least in the parts I've called home (when they played the song in Heinz Stadium when I saw them, people were jumping and freaking out so much I could feel the concrete stadium risers physically shaking. A little scary to be honest. Good song though). Before venturing any further, if you somehow haven't heard this jam, let's get acquainted really quickly. So, what do I say about this song that hasn't been said before? Not much, but I can retread old ground.

For starters, this is the first song released by the band after the death of former guitarist and founder Brian Jones (it was released literally the day after he died, July 4th, 1969). Now, in days of digital releases, you'd probably push the release date back a bit, but the wheels were already turning too fast to stop the vinyl machine. Second, there's an alternate version that can be found on the album that followed the release of this single, Let it Bleed, aka one of the best Stones records they've ever released (I'm more of a Sticky Fingers #1 person so I won't go so far as to say it's their best, but it's up there), under the name 'Country Honk'. Allegedly, this much more country tinged version of the song was the version that was originally being worked on, and it sort of mutated into the cowbell laden, loose southern fried jam it became. Keith Richards attributed it to the arrival of Mick Taylor, though Taylor swears the song was pretty much already complete before he joined.

So, the song itself is a pretty loose, vaguely southern little ditty about a woman the narrator meets in a bar in Memphis (Jackson in 'Country Honk') who, most likely a prostitute, tries to get him upstairs for sex. The narrator seems to acquiesce to the demand, saying something along the lines of "maybe this will get this other woman out of my mind since the alcohol isn't working". I have already admitted to personally being a witness to people (especially women) freaking out when this song was played, 'Brown Eyed Girl' style, which when you pay attention to the lyrics is a little bizarre, but hey,the song bumps, whatever.

This song spent four weeks at the number one spot on the Billboard charts starting on August 23, 1969, and for additional week at number one in their native UK. However, the track has had a lot more lasting popularity than that, becoming a concert favorite and still making it into regular rotation in their setlists and various compilations. I enjoy the vibe of the song, and really enjoy the horn section near the middle of the track. The release of the song seems a little bit like the release of the 'Revolution' single by the Beatles a year earlier, with the more laid back version 'Revolution 1' landing on the album. Coincidence? Probably.

So, next time I'll be looking at 'Sugar, Sugar' by the Archies, which I've definitely heard, as well as seen the weird Archie comics animated video, but maybe with a little research, I can discover the band behind the cartoon.



"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Thursday, August 15, 2019

Golden Nuggets #1: Zager & Evans- In the Year 2525 (Exordium & Terminus)



Image result for in the year 2525

In this inaugural edition of Golden Nuggets, a feature in which I spot light and critique the number one song the Billboard chart from fifty years ago, I will be taking a look at this glimpse into the future by the group Zager & Evans.

To be perfectly honest, I had never heard of this group or song before, and its presence on the Billboard chart at number one for six (!) weeks during the summer of 1969 was actually the whole reason I had the idea to start this new series. What was this song? Who are Zager & Evans? How was this song top of the charts for over a month and yet I've never heard anything about it? I intend to answer some of those questions here, as well as add my critique to the song. So first, let's take a listen to the song to acquaint ourselves.

So, in my research, I have been able to ascertain that Zager & Evans were a duo from Lincoln, Nebraska who hold the distinction of being a one hit wonder who managed to have their hit become #1 in both the US and the UK without ever having another chart success. They released a few albums in their run between 1969 and 1971.  So, onto their hit single. 'In the Year 2525' is a bit of warning about humanity's reliance on technology. As the verses pile up, time advances in 1010 year increments, describing the downfall of humanity leading to its eventual extinction. Some of the references are quite prophetic (test tube babies and the like), and it gave me some Harlan Ellison/ Aldous Huxley vibes, as well as the last portion of Wall-E (except played dead serious).

It's hard to put myself into the shoes of a pop listener during the 1960s, but with this and other apocalyptic ditties such as 'Eve of Destruction', it's conceivable that people thought the world could end during their lifetime, with mutually assured nuclear holocaust ever looming (It's good to know we don't have to worry about anything of that magnitude in 2019, right? Just kidding). It's interesting that while this tale about the evils of technology and its potential to rob humanity of thought, the body's utility and eventually its existence was dominating the chart for 6 weeks, the Moon landing was taking place, with steps advancing towards the song's narrative (also fun facts: Woodstock and the Manson murders also occurred while this was on the charts. This song was essentially the song of the summer during one of the most turbulent times in American history).

Overall, I thought the song was interesting. The music was a little drab, with some overblown strings and not a incredibly memorable melody, but I think it was more the message and the story that got people to listen. It was kind of that science fiction that started to blur the line between fiction and inevitability. With people addicted to pills, thought policed by mainstream media, glued to their screen (which I am looking at as I write and which you are looking at as you read), and using genomics to select for certain traits for their test tube babies, it's interesting to see what the duo got right (and those poor bastards, they thought it would take thousands of years. Try 50).

So, where are they now? Denny Zager owns a custom guitar company, and Rick Evans, after retreating from the public eye, unfortunately passed away last year. Sorry if my first post of Golden Nuggets came off like a One Hit Wonderland episode minus the production value, humor and thorough research (seriously you should give that a watch), but Zager & Evans are kind of a perfect group to cover for that show ( get on it, Todd). I don't think I'll have that problem for my next post, as I cover one of the most successful groups of all time, the Rolling Stones.

So, what did you think of 'In the Year 2525'? Had you ever heard of the song, or of Zager & Evans? What did you think of their vision of the future to come? Let's get a conversation going. Or, we can take a break from the screens and use our bodies while they still work. Your choice.

"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Tuesday, July 30, 2019

Albums in My Life: 2013

In 2013, I was in grad school, and during the summer, I worked as a kitchen employee at Penn State. I drove my girlfriend into town for her job in the morning, but my job didn't start until lunch time, so I had a lot of free time to walk around town or listen to music. During school, I also lived alone; my girlfriend was finishing up her degree at my undergraduate college about a half hour away. I visited every weekend, but the days of solitude really got me used to myself, and I filled time with a lot of music and hobbies, along with studying of course.



Image result for childish gambino because the internetChildish Gambino- Because the Internet
It's interesting to see how radically the critical consensus has changed on Childish Gambino. This and his earlier work were panned pretty much across the board, but as soon as Awaken, My Love! came out, people were clamoring to reevaluate his previous records and make it seem like they loved his records all along. I was there, no you didn't. However, I actually enjoyed this record, and I felt like it was a pretty smart critique of internet culture as well as containing good songs and is definitely Donald Glover's most ambitious musical project. The lyrics were a little corny, but what critics failed to see was that was kind of the point. Donald Glover is far too self aware to think that those punch lines were genuinely good bars. C'mon guys.



Image result for mbv albumMy Bloody Valentine- mbv
My Bloody Valentine went 22 years without dropping an album and didn't miss a beat. This record almost reaches the sublime highs of Loveless while not repeating it outright. It maintains that woozy, fuzzy and dreamy atmosphere, but is definitely still its own thing. I'm really looking forward to see what Kevin Shields and company do next. There's supposed to be an EP coming out sometime soon, but with My Bloody Valentine, I think release dates are more general guidelines. However, to go 22 years without an album and somehow have a project live up to that amount of hype is astonishing.


Image result for lousy with sylvianbriarof Montreal- lousy with sylvianbriar
This album is one of my three favorite of Montreal records, the other two being Cherry Peel and Hissing Fauna, are You the Destroyer? I find it hard to pick a favorite since the records are so radically different, and shows how versatile an artist Kevin Barnes is. This record sounds almost nothing like anything they've ever done before or since, being influenced by a lot of old folk and psych rock records, and it puts Kevin Barnes' incredibly personal and cryptic lyrics into an almost Dylanesque perspective. I also think it's one of the bands most consistent albums, with no low points or skippable tracks to be had. Even my other two favorites have at least one track that overstays its welcome.



Image result for earl dorisEarl Sweatshirt- Doris
Earl's debut album is quite a bridge between the two different halves of his career. This links the hyper violent early work with the more depressive later work in a way that maintains his trademark lyricism and dense rhyming abilities. I played the hell out of this album when it first came out, and I still listen to tracks like 'Hive' a decent amount. This also gave him an opportunity to really show who he was as an artist, whereas on his Earl mixtape or on an Odd Future project he always kind of seemed like Tyler's boy genius secret weapon. While I do long to see them collaborate in the future, especially since their sounds have diverged so far, it was good to see him step out from his mentor's shadow and embrace his own sound.


Wolf Cover2.jpgTyler, the Creator- Wolf
Like Doris, this really was a transitional record that bridged the gap in Tyler, the Creator's radically different early and more recent albums. Wolf is a lot more tonal, jazzy and melodic than his previous work, relying on a lot more influences of neo soul and 90s R&B, while still retaining some of the story elements that appeared on those albums, minus the horrorcore framing (for the most part). There are still hype beast tracks and songs looking to offend like tracks off Goblin, but you can see how Tyler was trying to stray away from that sound and slowly transition to the more accessible and critically successful fare that appeared on Flower Boy and IGOR.



So, that was 2013 for me, as well as the conclusion to the Albums in My Life series. As I previously stated, if you were curious as to my favorite albums from subsequent years, check out my year end top 10 lists.

I also hinted at a new feature on this blog in previous posts and here it is: I'm calling it Golden Nuggets. In the feature, I will give a little bit of background and share my opinion on the #1 song on the Billboard chart from fifty years ago (hence golden) that week (or period of weeks). It'll be interesting to see what songs were popular fifty years ago, as well as chart the changing music tastes and discover some songs I hadn't even possibly heard of since they've been lost to time. I hope you enjoy it.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."