Listen to this track by supposed melancholic singer-songwriter Ron Sexsmith. It’s “Saint Bernard”, the lead single from his most recent record Carousel One, to be released next week in the United States and in Canada.
The new record is the follow up to 2013’s Forever Endeavour, which was kind of like the Sunday morning album from his Saturday night-before flirtation with a wider audience as depicted in the 2010 documentary Love Shines and the associated album Long Player, Late Bloomer. Both of those records helped to bring Sexsmith out of what he considered to be a career funk in terms of sales and exposure, although much of their content framed that sense of struggle that his career was getting away from him.
Often pegged as a melancholic songwriter (incorrectly, in my view), these albums seemed to confirm him as one who deals in the bigger questions in life, the weighty themes that humanity has always wrestled with; the nature of success, of happiness, and an ever-present sense of mortality that presides over our lives. I suppose it makes sense that critics have pigeonholed him in the sombre section of their inner record collections after hearing these two albums from him, even if the songs themselves never sound as weighty as the themes with which they deal.
But, this single cracks all of that open, and shows a side of Ron Sexsmith that isn’t quite as available on the F-keys of most rock journalists’ laptops. Continue reading
Winter has been hard, Good People. I know. I know. Well, I would if I didn’t live in the Lower Mainland of British Columbia. Don’t hate me.
The world has been blanketed in white, which was pretty at first. But, it got old real fast. Some of you have had to tunnel your way to the car, or from it, sometimes using nothing but your ice-crusted mittens to do so. You have suffered that thing when you step into deep snow and it gets in your boots and soaks your socks.
Old Man Winter is a jerk.
Things (hopefully!) are getting green where you are, and a new and lush season of spring has by now sprung in your neck of the desert. If not, then maybe all you need are some new tunes to warm up your world while you wait! Well, as is becoming a custom around here at The ‘Bin, I have just the thing; a list of new songs from acts across the musical spectrum and the world.
New music is like the sunshine and April-ish showers for the soul. Drink it in, Good People!
Take a look! Or more accurately – a listen! Continue reading
Listen to this track by soundtracking blonde-headed trio The Police. It’s “I Burn For You”, a song as taken from the 1982 film soundtrack Brimstone & Treacle, a film with a very familiar presence on screen; bassist, singer, and head songwriter Sting.
The soundtrack featured a number of tracks from the band, most of which were instrumental. Other tracks were provided by The Go-Go’s, who were Police tour-mates around this time, and Squeeze. Otherwise, this soundtrack provided something of a stop-gap between major releases for the Police after Ghost In The Machine and before Synchronicity.
Also, it was a way to support a film project that involved Sting in his pursuit as an actor. He’d previously been featured as Ace Face in 1979’s Quadrophenia, a part that relied on his ability to scowl with maximum cheekbone exposure. With this new role, as a charming but bestial deviant named Martin, things were more involved when it came to the demands of the script, written by the renowned playwright and screenwriter Dennis Potter. The film is based on his play originally made for television in 1976, but not broadcast due to its disturbing subject matter. Plus, it was on this same soundtrack that would host Sting’s first solo single – “Spread A Little Happiness”. That song is a music hall-era tune written in 1929, and sung by Sting with a decided smirk. The song’s vintage didn’t stop it from reaching a top twenty showing on the British pop charts at the beginning of the 1980s.
Perhaps it stood to reason. By this time, The Police were the biggest band in the world, and still on their way up. Yet like that musical hall chestnut, “I Burn For You” had a lot more to do with the past, reaching back into a pre-fame era for Sting before The Police, number one records, or international fame were even thought about. Continue reading
Listen to this track by Detroit proto-punk progenitors MC5. It’s “The Motor City’s Burning”, a song that appears on their 1969 album Kick Out The Jams. The song was written by Al Smith, and previously recorded by no less than John Lee Hooker, making an appearance on Hooker’s Urban Blues live album in 1967.
That was the year that the riots which inspired this song occurred, in July and indeed at the corner of Clairmont and 12th street in Detroit. Given that both Hooker and The MC5 called Detroit home, this was more than just a blues tune full of violence and sadness, which it certainly is. It’s not even a protest song as such. It’s more like simple a view of the action, with no sides taken, but with a personal stake in the outcome all the same.
What is that personal stake? Well, it’s all tied up in the value of home, and from a band who are not only from Detroit, but who had attached their identity to it. Continue reading
Listen to this track by former Whiskytown principle turned 21st century roots-rock poster boy Ryan Adams. It’s “New York, New York”, a stormingly anthemic single as taken from his smash 2001 record Gold his second album as a solo artist.
Apart from the ambitious scope of the record that touches on a number of classic rock textures that reference Dylan, Van Morrison, The Band, and late ’60s Rolling Stones, it had time on its side, too. Released only a couple of weeks after New York made the news in a shocking and tragic manner during the events of September 11, 2001 , this song became a love song to a city during a very troubled and heartbreaking time.
The madness of these times was palpable, and this was an anathema, like a balm during a time that felt like the end of one era, and the beginning of a much darker one. The song won him a Grammy for best male rock vocal, and raised his profile among peers, critics, and record buyers. Yet, that darkness followed this song, impossible to separate from how celebratory it sounds due to that timing which could not be forseen. Amazingly, the video for this song was shot four days before the skyline of the city to which the song became a tribute would change forever.
Listen to this track by familial R&B vocal group from Philadelphia, Sister Sledge. It’s “We Are Family”, a signature tune from them as written by Nile Rodgers and Bernard Edwards of Chic, who also play on it along with drummer Tony Thompson. All three are namechecked in the performance by lead singer Kathy Sledge. The song is taken from their 1979 album of the same name; We Are Family. This is the full length version of the song, which would otherwise appear in a three-minute and change radio edit.
This is a classic tune of the disco era. It’s an anthem to celebrate those who are singing it, a paean to sisterly bonds and to what is means to be a part of something greater than oneself – a family. It’s also something of an anthem to those who gathered in the clubs as a subculture of those not recognized by the mainstream yet made into a family of sorts by virtue of their disenfranchisement. But, really, anyone can see what this song is about, and can relate to it. No wonder it was such a hit.
The song would be one of Sister Sledge’s biggest hits, released in March of 1979 and scoring a #2 chart position on the Billboard 100 and a #1 showing on the R&B charts. This was after the single made headway in the clubs then into local and national radio play. Not bad for a song that the label was unsure about whether or not this would make any waves, hitwise. It was also something of an extra victory, considering that it was made to order for the group, even if Rodgers and Edwards hadn’t heard or seen them before the song was written. Continue reading
Listen to this track by Austin Texas blues-honky-tonk-rock trio Stevie Ray Vaughan & Double Trouble. It’s “Cold Shot” a hit single from their 1984 record Couldn’t Stand The Weather, their second as a band. Along with performing well chartwise, the video for it received heavy rotation as well, noted for its humour.
The song was written by W.C Clark, a local Austin blues legend, although by the early to mid-80s, Vaughn had made a name for himself in his own right. Vaughan had been a student of the blues since he was a kid, along with his older brother Jimmie Vaughan. This tune was one of several cover songs on the record, with other songs written by Guitar Slim, Jimmy Reed, and Jimi Hendrix. The blues in these primordial traditions was on the wane in many ways by the early 1980s as far as mainstream audiences went.
So, given that, how did Stevie Ray Vaughan get so big in that era? And, what does this tune represent in the middle of all of that? Continue reading