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 Massachusetts quartet tagged by many as “proto-punk” and fronted by one Jonathan Richman, The Modern Lovers. It’s “Roadrunner”, a song about driving with the radio on featured on the band’s 1976 eponymous debut record. It was released as a single, and would be recorded over Richman’s career a few times with the band and without. There are a few versions floating around, but this one is my favourite, produced by John Cale in 1972.
Besides that, the song is pure magic to the point that it is amazing to me that it even exists. In some ways, it’s totally amateurish. But, that’s a big part of its charm. When Richman counts off “1,2,,3,4,5,6 …” you know you’re in for something eccentric and cool all at once. Unlike a lot of Jonathan Richman songs, this one is aligned with an expected rock ‘n’ roll subject; driving at night with the radio on, in love with rock ‘n’ roll and being out all night. But, it’s also about being in love with the place you’re from. In Richman’s case, that’s the state of Massachusetts, and the scenery along the way.
This is a song that’s been hailed by many as the first punk song. Where I don’t think I can agree with that (I personally think it was “Louie Louie” myself …), I can understand why people think that. This song has roots that are well known. Continue reading
Listen to this track by legendary back-up vocalist phenomenon and vital solo artist in her own right Merry Clayton. It’s “Southern Man”, a song written by Neil Young and recorded by Clayton on her 1971 solo record Merry Clayton. The sessions were overseen by Lou Adler, and the material was sourced from some of the best writers of the era besides Young; Carole King, James Taylor, Leon Russell, and others.
A few years after this tune was laid down for her self-titled record, Clayton had been called on to sing on the answer song to this tune, that being Lynyrd Skynyrd’s “Sweet Home Alabama” which chided Young by name on his criticism of southern life. But, the Skynyrd song fails to acknowledge in any distinguishable way that southern life for one is not the same life for another, depending on one’s background. The cultural weight and matters of historical record behind all of that is impossible to ignore. For Clayton, participation on that song rankled. But, as she said about the Skynyrd session in the excellent documentary Twenty Feet From Stardom, part of her calling when it came to civil rights was singing. So, she sang on the Skynyrd tune anyway, and “sang the shit out of it” with the boo-boo-boo backing vocal lines when governer George Wallace is alluded to in the song being among the stand out elements.
But, that session would be after she covered this Neil Young tune. In retrospect now that we’ve got both songs to listen to, Clayton twisted that dialogue back in on itself by doing a full on interpretation of “Southern Man” and transformed it while she was at it. Continue reading
Listen to this track by jazz-rock concern and one-time aversionists to regular live dates Steely Dan. It’s “Pretzel Logic”, the title track to their 1974 album which is aptly named Pretzel Logic. This would be the last record of theirs for which they would tour during their 1970s heyday. It would mark the end of an era, and the beginning of a new one.
What this new record also meant was a return to the top of the charts for singles, after a dip in their fortunes a year before. This song was one single to get them back to where they wanted to be, along with their smash top ten hit “Rikki Don’t Lose That Number”. But, more importantly it was when they were beginning to phase into a new life as an exclusively studio-bound concern. Bassist Walter Becker and singer-pianist Donald Fagen were the principles of the band as a studio entity, and turned increasingly to sessioners to fill out the sound along with (and often instead of) full-time members Jim Hodder (drums, vocals), Denny Dias (guitar), and Jeff “Skunk” Baxter (guitar). Still, this tune hooks into what the core ensemble version of the group had always been able to deliver anyway, that being sophisticate jazz rock with a heaping tablespoon of the blues, not to mention a hefty dose of hipster irony and arch-sarcasm to tie it all up.
What were they being ironic about here? Continue reading
Listen to this track by one-time clubhousing musical pioneers and last waltzing quintet mostly from Canada, The Band. It’s “It Makes No Difference”, a classic deep-cut from their 1975 album Northern Lights, Southern Cross, their sixth.
This track features the vocals of bassist Rick Danko, known these many years later as one of his defining moments as a performer. It’s hard to deny. The song itself is heartbreaking, coming from the point of view of a man bereft of joy having lost his love with no hope of regaining it, and when sung by Danko, his very soul along with it. This is all bolstered by writer Robbie Robertson’s lyrical guitar voicings, and Garth Hudson’s mournful lines on the saxophone.
Robbie Robertson wrote the song specifically with Danko in mind, knowing what the possibilities would be. After all, this song is probably one of the most direct and personal songs he ever wrote. So, what is it about Danko’s voice that brings it to life so effectively to the point where all other vocalists covering this song over the years haven’t come near to capturing?
Listen to this track by jazz-enthusiast and singer songwriter Joni Mitchell. It’s “Goodbye Porkpie Hat” as taken from her 1979 LP Mingus named after her artistic patron at the time, the incomparable Charles Mingus.
This song is a jazz standard, first appearing in its original instrumental form on Mingus’ 1959 album Ah Um, and a tribute to saxophone legend Lester Young, the wearer of the signature headwear who died that year at the age of forty-nine.
Mitchell had veered into jazz territory on a number of albums previous to this one, working with several jazz musicians who were skilled enough to work within the framework of her penchant for open tunings. Despite its very experimental and non-commercial nature, the Mingus album still managed to peak in the top twenty on Billboard. This is possibly due to the fact that Mingus himself had died after contributing to six new songs on the album, plus two others from his existing portfolio, including this one. After a career of pushing the envelope musically speaking, this was his last musical pursuit.
Perhaps it’s fitting that “Goodbye Porkpie Hat” was the closer of this record, originally a tribute to one musician becoming something of a tribute to another years later, complete with lyrics by Mitchell especially for the project. But, I think this song evokes something else, too.
Listen to this track by progressive rock collective Traffic. It’s ” The Low Spark Of High Heeled Boys”, the title track to their self-same 1971 album. It would be one of their career highlights of the second phase of their career, coming back from a break-up in 1969 that turned out only to have been temporary.
This phase of the life of the band featured an expanded line up that included Ghanaian percussionist Rebop Kwaku Baah who had previously played on Nick Drake’s “Three Hours”, former Family/Blind Faith bassist Ric Grech, and Derek & The Dominos drummer Jim Gordon. After a comeback record in John Barleycorn Must Die, scoring critical acclaim, this record that followed it up was a million seller as well as being critically praised. It reached platinum status by the middle of the decade. With those new members added to the talents of core members guitarist-keyboardist-vocalist Steve Winwood, woodwind player Chris Wood, and percussionist-vocalist-lyricist Jim Capaldi, the band were able to explore the deeper territories where rock, jazz, and soul connect.
But this particular track owed something not only to those musical threads, but to another medium entirely – cinema. Continue reading