Listen to this track by post-Beatles Paul McCartney songwriting vehicle and bona fide top forty behemoth Wings. It’s “Silly Love Songs” a smash single that appeared on the band’s 1976 LP Wings At The Speed of Sound. The song proved its own thesis by spending five non-consecutive weeks on the number one spot of the Billboard 100. It would be McCartney’s twenty-seventh number one song, helping to place him in the Guinness World Book of Records as the world’s most successful songwriter by 1979.
By this time, McCartney and Wings were on an upswing with a number of hits behind them and with many in front as well before the band ended in 1981. However even during this peak period where chart action was concerned, the songwriter was not without his critics. Even his former songwriting partner John Lennon had levelled an opinion that McCartney had gone soft, writing lightweight, crowd-pleasing love songs rather than turning his talents to more substantial subjects. This song was a self-aware reaction to that. Crowd-pleasing? What’s wrong with that, I’d like to know?
Having said that, there’s something else going on in this song that I think a lot of rock fans had complained about where McCartney was concerned by 1976; that it just doesn’t rock in the way that, say, “Helter Skelter” or Back In The USSR” does. I think there’s plenty to unpack there that reveals something about McCartney the writer, and maybe something about his audience, too. Read more
Listen to this track by stylistically slippery Los Feliz-based musical vehicle for songwriter Mark Oliver Everett, Eels. It’s “Saturday Morning”, the lead single as taken from 2003’s Shootenanny, the fifth release under the Eels moniker. The album followed relatively quickly on the heels of 2001’s Souljacker, and shares some of its harder, fuzzier edges.
By this time, Everett was in a particularly busy period with multiple projects on the go all at once. He was planning a magnum opus of a record that would eventually be released in 2005 as the thirty-three track album Blinking Lights and Other Revelations. That project would feature some of the most intricate and delicate arrangements of his career. At the same time, he recorded this album which was done in a contrastingly short period of time in a matter of a couple of weeks, live off of the floor. Somewhere in there, he also wrote the score for the film Levity. Whew!
Knowing what was on his plate at the time, it would be easy to chalk this particular song up to Everett’s own driven work ethic. Yet, this song alluded a time in the past before his career as a professional songwriter and musician even began, and to a state of mind to which many of us can relate. Read more
Listen to this track by serial hit single pure pop vocalist and future Solid Gold/Psychic Friends Network TV personality Dionne Warwick. It’s “Do You Know The Way To San Jose”, her ginormous 1968 hit song as written by herculean songwriting team Burt Bacharach and Hal David with whom Warwick famously collaborated during the 1960s and into the early seventies. The song appears on her LP Dionne Warwick in the Valley of the Dolls.
Lyricist David penned the words to this song after Bacharach wrote the melody. He decided to write about the town of San Jose, California where he’d once been stationed in the navy, having good memories of his time there. Warwick was initially unconvinced of the song’s hit potential. After all, she was following up “I Say A Little Prayer”, yet another huge smash hit, so the pressure was on. Bacharach and David convinced her to record it anyway, and it scored her a third consecutive number one song on the Billboard charts.
Even after decades of performing it, and despite the success it represented for her, Warwick never really warmed to it. She considered it to be fluff. Yet, this song isn’t all that it seems. It’s one of those songs that sounds happy, but isn’t, full of all kinds of pain and heartache under its supremely breezy exterior. Read more
Listen to this track by rotating cast of musical characters in orbit around one-time Rotten singer John Lydon; Public Image, Ltd. It’s “Rise”, a single and top twenty record as taken from the imaginatively titled 1986 LP, Album (or Cassette, or Compact Disc, depending on format…). The album was the fifth released under the name Public Image, Ltd. since forming in 1978. By this period, it was more like a John Lydon solo record with some very notable, and very unexpected players featured on it.
The musicians on this song alone are a fair distance away from the musical world with which Lydon was generally associated. Stylistically, they’re even pretty far from each other in terms of genre, coming in from parallel stylistic universes to make a (perhaps) surprisingly complementary set of noises together while still retaining their own signature styles. This internal cohesion is largely down to the involvement of producer, bassist, musical director, and co-writer of this song Bill Laswell, well known for his knack for finding common threads between genres and musician’s styles to create something seamless out of them.
What does singer John Lydon himself bring to this song in the middle of all of that, a charting hit that reached #11 on the UK pop charts? Well, perhaps unexpectedly from the guy who wailed “no future for you!” at one point in his career, I think this song is about hope for the future itself. But, it’s hope with a cost. Read more
Listen to this track by languid Santa Monica lo-fi outfit Mazzy Star. It’s “Fade Into You”, their hit single that features on their 1994 breakthrough album So Tonight That I Might See . This song remains to be their signature tune, noted for the sleepy, soporific vocal performance by singer Hope Sandoval.
After a decade in the eighties of big glossy production-driven records, a song like this that seems to evoke the spirit of desolate early seventies folk-rock seems like an unlikely formula for success. This approach fit pretty well to the new decade, with a lot of bands then freed up to reference older musical streams after the eighties’ emphasis on hyper-newness and burying the past was over. Even if that’s true, Mazzy Star came by those influences pretty honestly before it was fashionable anyway.
Joining Sandoval in the band was guitarist David Roback, late of Paisley Underground band The Rain Parade and follow-up band Opal, the latter of which Sandoval was also a part. That scene largely ignored (and was ignored by) the mainstream in the eighties, with references to the warm tones of sixties and early seventies psych and folk arenas more so than to the jittery new wave, sparkly dance pop, or bombastic arena rock of the time. So what helped to make this song a sleeper (and sleepy!) hit by the following decade? Just this, I think; everyone loves a mystery.
Listen to this track by Crescent City R&B singer, radio personality, and self-styled “R&B Emporer of New Orleans” Ernie K-Doe. It’s “Mother-in-Law” his 1961 number one single that would become his signature tune.
The song was written and produced by indispensable musical renaissance man Allen Toussaint, although it was something of a throwaway tune from him almost literally. The right take on the song proved to be very elusive during the three-hour recording session. In frustration, Toussaint took the songsheet and threw it away. Luckily for Ernie K-Doe and also for Allen Toussaint, backing singer Willie Hopper fished it out of the trash and encouraged the singer to give it another shot, convinced that the song was a hit. It was.
“Mother-in-Law” scored the number one spot on the R&B charts in May of 1961 and stayed there for a week. Ernie K-Doe (born Ernest Kador, Jr.) would trade on this song for decades, singing it during live appearances until the end of his life in 2001. As much as it was signature for him, being his best chart showing by far, the song itself can be viewed as a mark of the times out of which it came, too. Read more
After a rainy spring here on the Left Coast of Canadialand, Summer is finally here. Holidays, sunscreen, the beach, Bar-B-Qs, brown lawns, wildfires, and heatstroke, here we come! While we’re engaged in the sunny, warm, hazy, fiery, smoky season in this age of U.S government-sanctioned climate change denial, there’s one thing that will provide an extra boost as we all ponder Armageddon; new tunes!
This is the fourth (!) edition of June Tunes Digest here on the Delete Bin. I can hardly believe it. As per usual, and to meet the above criteria for a summer soundtrack to make this season as memorable as is possible in a good way, below is a selection of tunes from various regions of the globe and across the musical spectrum for your consideration.
Listen, enjoy, and tell me about your favourites in the comments section.
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Listen to this track by Deptford punk rock inheritors and comic geeks Art Brut. It’s “DC Comics and Chocolate Milkshakes” an anthemic cut off of their self-referential 2009 LP Art Brut vs Satan, their third.
By the time the band came to record this album, they had hit their stride and were free enough financially in their personal lives to all take the time to record while in the same studio together. On previous records, they’d had to stagger the sessions to make room for their straight jobs, with each member coming to lay down parts at different times. With Art Brut vs Satan, they could play like the punk band they were; in a room at the same time bashing out the tunes. It helped that Frank Black, himself no stranger to recording his own bands live off of the floor, was steering the ship as producer.
And what of this song, a tale of a twenty-eight-year-old boy who still reads comics and drinks milkshakes? Well, the arrested development angle plays somewhat into what it means to be in a rock n’ roll group where staying forever young, or at least with a teenage mindset, is actively encouraged. Even if there is a more than a whiff of self-deprecation to be found here, I think this song has a few things to say about age and our perceptions of maturity that actually shows wisdom beyond its years. Read more
Listen to this track by jazz piano innovator and famous eccentric Thelonious Monk along with his equally celebrated musical partner by the time this was recorded, John Coltrane. It’s “Monk’s Mood”, a cut that would appear on the bona fide buried treasure Thelonious Monk and John Coltrane Live At Carnegie Hall.
This rendition of the song was cut live at the famous venue (how do you get there? Practice, man, practice …) at the tail end of 1957 in two sets on the same night. During several months that same year, Monk and Coltrane collaborated in a quartet along with bassist Ahmed Abdul-Malik and drummer Shadow Wilson. Monk had cut this tune in trio form in the studio with Coltrane (along with bassist Wilbur Ware) on his otherwise-solo piano album Thelonious Himself earlier that same year in April.
By the time they recorded the Carnegie Hall date, the band had Monk’s famously idiosyncratic composition style down pat, with amazing clarity and precise musical alignment particularly between him and Coltrane. This piece is like a dance between sax and piano, with steps that may be odd in places, but are always elegant. The most amazing part of all of this was that this music was almost not heard at all outside of the live audience who attended the date, and certainly not because the music isn’t absolutely sublime. Before a wider audience could hear it, it needed to be found – literally. Read more
Listen to this track by first-tier Paisley Underground representatives The Dream Syndicate. It’s “Tell Me When It’s Over”, the opening cut as taken from their 1982 record Days of Wine and Roses, their debut. The song was released as a single in early, although in the UK and not in their native West Coast where they were critically acclaimed but not commercially viable, somehow.
The threads between what was happening on the West Coast, and with post-punk bands in New York and in the UK were intertwined thematically speaking by the beginning of the eighties. Yet in many ways, this song and the sound the band reached for in general represented a complete departure, too. Some of the influences that floated into their sound that couldn’t be found in scenes elsewhere at the time. It had to do with the kinds of crowds they played to on the scene as well, partial to jams that perhaps were outside of the standard post-punk wheelhouse in other quarters.
The question of mainstream appeal at the time was perhaps not applicable across the board in other respects as well. From the early 1980s, The Dream Syndicate demonstrated a vital truth from which we’re still benefiting today; that pop music made by indie bands can’t be measured on a single historical line or any one set of musical influences. Read more