Listen to this track by London R&B quintet you wouldn’t let your daughter go out with, The Rolling Stones. It’s “Paint It Black”, a number one record released as a stand-alone single in the UK in May of 1966 as the harbinger to their landmark LP Aftermath. In North America, it was added to a modified version of the record as the opening track.
This song by the Stones remains to be one of the most sonically varied and innovative tracks in their now very extensive catalogue. Sure, there’s that undeniable sitar part. But there’s so much more happening around it so as to make that part just one of many important aspects of this song, which seemed to foresee post-punk even before the word “punk” was applied as a musical term.
Of course, this song also caught the band at a crucial point in their career, reaching new compositional heights. It also was a time when the dynamics within the band were shifting greatly, and not completely comfortably, either. Read more
Listen to this track by funk-soul giant and musical Godfather to soul and her many children, James Brown. It’s “I Got The Feelin'”, a key track as taken from the album of the same name, I Got The Feelin’ released in the spring of 1968.
This song was one of a few key singles that would help to establish James Brown as a true innovator. The year before, he’d released “Cold Sweat”, a song of such importance to so many musical streams down through the years and up until today that its value cannot be measured. It helped to open up several musical directions for everyone from seventies funk, to electro, and hip hop in the eighties and sampled heavily ever since. But it initially set James Brown and his band on a path to create some of his most memorable and musically innovative songs of his career, like this one.
Among the most important elements that this song builds upon is the idea of what a lead vocal means, and how traditional singing is adapted to a new paradigm that has less to do with literal meaning or even straight melody, and more to do with something that only the body can express. Read more
Listen to this song by widely acknowledged gospel-blues pioneer and Godmother of Rock ‘n’ Roll herself Sister Rosetta Tharpe. It’s “Didn’t It Rain”, a gospel standard in this case delivered live in Manchester, England in 1964. This peformance is featured on the DVD The American Folk Blues Festival: The British Tours.
This 1964 version of the tour featured some of the pioneers of urban and rural blues at the time, including Muddy Waters, Otis Spann, Sonny Terry & Brownie McGhee, and others. Sister Rosetta Tharpe’s segment was filmed by Granada Television at disused Wilbraham Road station, fixed up to look like an American sharecropper’s porch in the American South. Two-hundred onlookers in the audience sat opposite the station platform that served as a stage. In typical British tradition, it rained during the performance. But, after it rained, Sister Rosetta performed this tune, a tale of Noah and his ark, of redemption, and condemnation.
Among other things, this performance reminded audiences of what they’d come to know as rhythm & blues and even rock ‘n’ roll in their purest forms. But even then, not many people at the time were fully aware of her role in creating a sound that served as a pillar for those musical movements, set in place when Elvis was still potty training. Read more
George Martin died last month at the ripe old age of 90 after a life well lived. In many a tribute he was hailed as one of the many “fifth Beatles” that have passed on before him, from manager Brian Epstein, to stalwart roadie and go-for Mal Evans, to Apple office manager and one-time driver Neil Aspinall, to Beatle-championing US disk jockey Murray The K. But, I think even that honourable distinction of Fifth Beatle limits George Martin.
His revolutionary ideas about what a producer is supposed to be in relation to artists, and what the studio was supposed to be in relation to making albums changed music forever, and for the better. To me, this counts for a lot more than attaching the label of fifth anything to him. His role in the progression of pop music history cannot be underestimated, all Beatles (fifth or otherwise) aside.
What are the ins and outs of this, though? What made George Martin a great producer, enabling him to usher such great music into the world in the manner that he did? Well, that’s what I think we should explore in detail right now, Good People! Here are 10 elements, characteristics, attributes that I feel George Martin possessed that helped him to do what seemed like the work of a saint; turn pop music from a throwaway curiosity and make it into art.
Listen to this track by British R&B soul-jazz gurus The Graham Bond Organisation. It’s “Wade In The Water” a version of a traditional song that appears on their second, and final, album The Sound Of ’65, released that very year in March. The band consists of Bond on organ and alto saxophone, Dick Heckstall-Smith on tenor saxophone, Jack Bruce on bass, and Ginger Baker on the kit.
Along with Alexis Corner’s Blues Incorporated, The Graham Bond Organisation (misspeling of Oxford English “orginisation” is deliberate, everyone …) was a very well-respected unit on the R&B scene in London from the early to mid 1960s. If the Beatles and the Stones were the bands that the record buying public loved, then Graham Bond and his compatriots were just as beloved by their musician peers on the London club scene. For a time, even future jazz-fusion innovator John McLaughlin was a part of the band on guitar. For those looking for pure chops and blues authenticity that was so sought after at the time, then these guys were it.
As short-lived as this band was, they helped to sow the seeds of the progressive rock and jazz-rock movements in Britain that would flourish by the end of the sixties and into the seventies. As influential as they were, there was much trouble at the root for these guys when it came to personal demons. Read more
Listen to this track by Los Angeles-based folk-rock trio featuring ingenue singer Linda Ronstadt. It’s “Different Drum”, a 1967 single as taken from their second album, Evergreen, Vol. 2, which would turn out to be their most successful release.
The song was penned by Michael Nesmith, a member of the Monkees of course, but written in 1965 before his profile was raised by the weekly TV show that made him famous. Even before Stone Poneys got a hold of it, it had been recorded by bluegrass outfit The Greenbriar Boys. Nesmith himself would record his own version of the song on his And The Hits Just Keep On Comin’ album in 1972.
In the summer of 1967, this proved to be the first hit single (#13 on the Billboard Hot 100) that singer Linda Ronstadt would enjoy in a solo career that would yield several as the sixties turned into the seventies, and even beyond. Maybe the song’s subject matter inadvertently pointed to the fate of the group; that each member was ultimately headed in different directions to the others before the end of the decade.
Yet I think more interestingly, this take on Nesmith’s tune as re-interpreted by Ronstadt says a lot about its current era of the sixties and how things were changing especially when it came to the roles of men and women. Read more
One month ago, David Bowie turned 69. At the same time, he released a great album, arguably to be compared to his best ever works. But, two days later, he died.
I am not over it. Maybe the Internet has moved on. But, I haven’t.
David Bowie helped to shape the world I grew up in. So many musical movements I enjoyed was touched by him. Every weird haircut that I admired was indirectly inspired by him. The very definition of what a man was supposed to be was redefined for me by him. For our generation, manhood (and womanhood too!) became a spectrum of identity along which we became free to move. With that in place, we could decide on the details of what our identities meant for ourselves dynamically instead of holding to some spurious one size fits all ideal. Turn and face the strange, he said! These days, these dynamics are just a given, of course. But, I believe that we have Bowie to thank for a lot of that just because of the impact he had on popular culture with the various masks and personas he wore.
That’s just the thing. David Bowie was as much about redefining how we perceive identity as he was about musically inspiring his peers and followers. In fact, Bowie’s innovation with identity and artifice is entwined with his musical output in such a way that makes either one a facet of the other. What’s come out of that dichotomy between persona and sound simply makes him immortal.
Here are 16 personas that Bowie projected through out his career either by his design or made manifest through our perception as his audience. Which one do you identify with the most? I imagine the answer to that is as varied as there are the number of personas Bowie took on. But, take a look, and tell me what you think.
Listen to this track by American folk music dynasty member and Brooklyn NY born storytelling singer-songwriter Arlo Guthrie. It’s “Alice’s Restaurant Massacree”, an epic length story-song that appears on his 1967 debut album, appropriately titled Alice’s Restaurant.
This song is his most famous even now, based on real people and real life events, and delivered in a “talking blues” style made popular by his legendary dad, Woody Guthrie. It would prove to be an enduring song even if it is longer than most; 18 minutes and change, depending on the version, of which there are now quite a few. Most of that running time consists of a spoken-word delivery with a circular ragtime style finger-picking vamp behind it. Unconventional as it is, it got Arlo Guthrie a recording contract after his live performances of the song caught the attention of underground radio, who got a hold of a live recording. It was even adapted into a full length feature film in 1969 directed by Arthur Penn, and starring Arlo Guthrie playing a version of himself.
Because the story initially takes place during the Thanksgiving holiday, it’s now often given airplay during that time of the year, having celebrated it’s fiftieth year this past November. But, the themes the song deals with go beyond a single time of year or occasion. Maybe that’s why it was such a hit, despite the level of commitment it asked of listeners during a time when three minute songs were the order of the day. Read more
Listen to this track by former sixties London R&B scenester turned cosmically-inclined singer-songwriter David Bowie. It’s “Space Oddity”, a single as taken from his second self-titled 1969 album that would in time be re-titled Space Oddity when it was re-issued in the early seventies. The song would be released on July 11 in the UK, on the same day of the historic Apollo 11 mission to the moon. The BBC held off on playing it until the astronauts returned safely.
For Bowie’s part as far as the approach to writing this song, parallels to science fiction and his journey with fame would begin here, with many other songs and at least one movie role in his future that would explore the same themes. In this case, this dynamic is achieved through his character of Major Tom, a renowned astronaut lauded by the masses, but finding himself isolated and searching for meaning when confronted with the planetary scale of things, all awash in acoustic guitar strumming, jazzy drumming, and keyboardist Rick Wakeman’s appropriately spacey mellotron lines.
From here, it’s not too difficult to draw parallels between floating in a tin can far above the world, the nature of fame, and of existence in general. Read more
Listen to this track by Teutonic singer, actor, and model Nico. It’s “These Days”, a song as taken from her 1967 record Chelsea Girl, her solo debut. That album is noted by the extremely high quality of songwriting and instrumental talent behind it, including contributions from Bob Dylan, Lou Reed, John Cale, and Tim Hardin.
This particular tune was penned by Jackson Browne, who was a teenager when he wrote the initial iteration of this song. It would evolve later on, and be recorded by several artists including Browne himself later on when he made a name for himself as one of the key figures in the singer-songwriter boom in the early to mid-seventies. Nico was the first to record it in a finished studio version. Browne plays the distinctive electric guitar picking part, accompanying Nico’s distinctively austere and icily distant vocal performance, delivered in her signature lower-register range. All of this is contrasted by a bittersweet wash of strings, added in post-sessions by producer Tom Wilson.
By now, this song has been covered by many, and is perhaps best associated by modern audiences with its use in Wes Anderson’s Royal Tenenbaums. Nico’s recording of this song seems to connect with its active ingredients better than most versions do. And what are those ingredients, exactly? And what does Nico bring to it to make it what it is? Read more