Staff Picks: Music
Do you have a list of songs that simply remind you of summer or that you dust off from their Winter hibernation to crank out on your car stereo or I-pod? I like to have a couple of compact disc mixes in my car that feature some of my go-to tracks as I trek to the lake or head to the backyard cookout. What are your favorite summertime anthems?
Pavement's Cut Your Hair
The Faces' Ooh La La
The Chi-lites' Oh Girl
Michael Jackson's I Wanna Be Where You Are
The Descendents' Silly Girl
Big Star's Thirteen
Stevie Wonder's My Cherie Amor
Seals and Croft's Summer Breeze
Wilco's She's a Jar
Best Coast's Our Deal
Neil Young's Out on the Weekend
Crowded House's Don't Dream It's Over
Hall and Oates' Kiss on My List
Santo and Johnny's Blue Moon, Teardrop and Sleepwalking
The Monkees’ first chart hit featuring Davy Jones as lead singer, “A Little Bit Me, A Little Bit You”, was also the last of its kind. Featuring no musical input from any of the band members other than its vocalist’s, the single’s pre-fabricated nature was at odds with the group’s growing interest in having more creative input, as writers and musicians, on their own recordings.
Assembled in 1966 to star in a TV series about the fictional exploits of a struggling rock combo, the Monkees were considered actors first and foremost, despite their musical credentials. Music biz veteran Don Kirshner provided the music for the first season’s episodes and related record releases. Working under his supervision, Brill Building tunesmiths crafted pop confections honed to perfection in the recording studio by a who’s who of ace session musicians. With few exceptions, the Monkees’ only contributions to these tracks – distinctly appealing as they are – were their vocal tracks.
The formula proved so successful, demand for live appearances by the band grew, and the fictional band found themselves becoming an active performing unit by the start of the new year. Prepared to record their songs as their own instrumental accompanists, the band was surprised to discover that Kirshner had released his production of the Neil Diamond-penned “A Little Bit Me, A Little Bit You” as a 45 without their permission. This move led to Kirshner’s dismissal as musical supervisor of the Monkees project, and paved the way for the band’s first recordings on their own.
This behind-the-scenes drama went unnoticed at the time, and Monkees fans sent the single up the charts by mid-spring of 1967. While the band’s next recordings didn’t abandon the sunshine pop sounds that helped establish them, a wider range of styles and experimentation would begin to appear on their records, especially once their TV series ended after its second season. Pre-fab or homegrown, the consistency of the band’s recordings defines a true “Monkees sound”, and “A Little Bit Me, A Little Bit You” is one of its best examples.
I'm a Believer and Other Hits
I was thrilled to finally check out the newest CD from electronic music legend Thomas Dolby, A Map of the Floating City, but not because I wanted to hear his new music. The reason was the album cover because it was designed by local artist and award-winning comic creator, Paul Sizer. Dolby could not have selected a better designer than Sizer to create a cover that conveyed his feeling of a “dystopian vision of the 1940s that might have existed had WWII turned out a lot differently.” Sizer has a strong history of crafting books like Little White Mouse and Moped Army, with bleak futures that contain strong characters not only struggling for survival, but also fighting for what is right. His “steampunk” style of art works extremely well with Dolby’s theme for the CD. It will remind you classic pulp fiction that Sizer has expertly updated for today’s fan. Paul can now add awesome album cover designer to his resume. I will now go listen to the CD.
A Map of the Floating City
There’s a lot to dislike about the 1970’s including bell bottoms, a gas shortage, and poorly managed sideburns to name but a few but musically speaking, the radio has never been as varied as it was during this decade that saw the birth of punk, progressive rock, disco, Philly soul, funk, and a slew of fantastic singer songwriters like Joni Mitchell, Neil Young, Nick Drake, Harry Nilsson, Billy Joel, Carol King and Elton John. One of the least recognized legends of the Nashville music scene of the early seventies was Mickey Newbury, whose contributions to Outlaw Country is well documented on Drag City’s recently released An American Trilogy. Like Townes Van Zandt, Newbury’s fans have mostly been fellow musicians who revere his beautifully crafted songs. Those who sing his praise include Will Oldham, Kris Kristofferson and Steve Earle. Known as the first “Hippy-Cowboy”, Newbury bucked the Nashville music establishment by doing things his way. He found little commercial success for his recording of the seventies but critics have long praised his touching ballads and lyrical writing. Those who have sung and recorded Mickey Newbury penned songs include Linda Ronstadt, Johnny Cash, Bill Monroe, Roy Orbison, David Allan Coe, Willie Nelson and many more.
An American Trilogy
The Paris Sisters were the first girl group that Phil Spector produced (1961-62) prior to his working with more well known groups like The Ronettes. This collection is a real treat for those who love Spector-produced albums and those strings-heavy, pop songs about boyfriends, heartache and falling in love for the first time. The album culls together for the first time, all of the A and B-side singles from this influential group that with the help of the eccentric Spector and his talent for production, kick started the Wall of Sound style that became Spector’s trademark during the early 1960’s.
The Paris Sisters: Complete Phil Spector Sessions
Fans of Canadian singer-songwriter and poet Leonard Cohen are anxiously awaiting the release of Leonard’s new release, Old Ideas, his 12th studio album and his first since 2004. With a career that spans more than four decades and fresh from almost three years of relentless touring, Cohen (now 77) presents a new body of work that is as introspective and intensely sweet as anything he’s done to date. Somewhat reminiscent of recordings by the late John Campbell, the album’s dark bluesy feel and Cohen’s deep-throated growl puts this release in a class with recent works by Tom Waits and Bob Dylan—dark, sure, but reassuringly soothing and warm.
Old Ideas is scheduled for release on January 31st, so reserve your copy now. Can’t wait to hear it? NPR lets you listen to Old Ideas in its entirety right now! Go give it a listen. Sometimes, Old Ideas are some of the best ideas.
Public Media Network, the local cable access channel, airs some very fine programs. Among my favorites are those excellent travel videos by Chuck Bentley and Donna Kaminski. I could watch those for hours. In fact, I have done just that. It was while viewing the ones on the British Isles several years ago that I became interested in modern Celtic music, particularly that of the Irish singer Enya. KPL has many of her CDs, including her 2008 release And Winter Came. Ten of the 12 tracks were unfamiliar to me, but I did know the Advent hymn 'O Come, O Come, Emmanuel' and the Christmas carol 'Silent Night.' Both of these receive contemplative and thoughtful renditions. This has become one of my favorite holiday albums. The word beautiful does not do justice to it. This is a lovely, meditative, clear-voiced, atmospheric, lyrical offering!
"And winter came... [sound recording]"
I am a grown man in his thirties with no children and I can unabashedly say that my most anticipated pop culture event of 2011 is the forthcoming movie The Muppets. Both my wife and I were raised watching The Muppet Show, which aired from 1976 to 1981, and we developed a deep appreciation for creator Jim Henson’s sense of humor, which managed to cater to both children and adults while remaining cheekily subversive. Other Muppets projects like Sesame Street, Fraggle Rock, Muppet Babies, The Dark Crystaland Labyrinth were all enduring, but between the original TV show and the first three feature films (The Muppet Movie, The Great Muppet Caperand The Muppets Take Manhattan), our hearts belonged to Kermit and the gang.
But after the shocking death of Henson in 1990, quality control of the Muppet brand went downhill. Suddenly, the Muppets were being plugging into existing stories like A Christmas Carol, Treasure Islandand The Wizard of Oz. These puppet-infused literary adaptations lacked true imagination and creativity—two things the Muppets themselves had long represented. Ownership of the Muppets changed hands a few times. During these dark days, it was most certainly not easy being green.
And then, sometime at the end of the 00s, a potential (and unlikely) savior emerged for the Muppets: a comic actor known for his goofy charm and often crude sense of humor named Jason Segel. The How I Met Your Motherstar had just come off the success of the film Forgetting Sarah Marshall. Wanting to capitalize on his cachet, Hollywood suits approached him and asked what he wanted to do for his next project. And of all things, he said he wanted to make a Muppet movie. Turns out, Segel, too, grew up watching the variety show and missed the days when Kermit and Co. had been relevant and irreverent. Disney, who had purchased the brand, was more than happy to oblige. That film, loaded with guest stars and smart humor, opens November 23rd and will hopefully re-launch Henson’s greatest creations back into the pop culture zeitgeist. I, for one, will be there opening day.
In the meantime, however, Disney has taken a step towards promoting the film by gathering together a group of alternative artists and producing Muppets: The Green Album. This collection puts a modern spin on some of the Muppets most beloved songs. Weezer and Paramore’s Hayley Williams perform “The Rainbow Connection,” alt-rock group The Fray pulls off the catchy “Mahna Mahna,” and My Morning Jacket covers “Our World.” Other artists featured are Andrew Bird (“Bein’ Green”), Matt Nathanson (“I Hope that Something Better Comes Along”) and The Airborne Toxic Event (“Wishing Song”). But the albums best songs belong to Alkaline Trio’s fast-paced road song “Movin’ Right Along,” Sondre Lerche’s groovy “Mr. Bassman” and the ever-inventive OK Go’s cover of the “Muppet Show theme song.” (Check out their video below.)
Green is great for nostalgic fans as well as being a fantastic introduction for a new generation of Muppet enthusiasts. I can only hope that Segel has succeeded in making the Fuzzy Ones witty and inventive again. Even though I still have over a month of anticipation before the movie comes out, this album is helping to get me through the wait.
Muppets: The Green Album
It's not uncommon to feel a nostalgia for music of another time and place that may cast today's sounds in a less favorable light, even if the evidence doesn't justify the position. However, fans of '60's pop radio can point to any of the following 45s from the summer of 1966 - listed in no particuar order - to make a very strong case for the excellence of that era:
The Beatles: “Paperback Writer” – before the late-summer stateside furor caused by John Lennon’s “more popular than Jesus” interview remarks, the Fab Four ruled US airwaves with this dose of proto-psychedelia, cut during the sessions for their landmark Revolver LP. Dig the “Frere Jacques” backing harmonies in the third and fourth verses.
The Rolling Stones: “Paint It, Black” – moving further away from their R’n’B roots with this brooding Middle Eastern-flavored recording from their Aftermath sessions, the Stones released the first rock single to feature the sitar. Keith Richards remains non-plussed by the US record company’s random insertion of the comma in the song’s title.
The Supremes: “You Can’t Hurry Love” – Motown’s biggest act charted their 7th number one smash (after a couple of singles that “only” made the top 10) with this infectious Holland-Dozier-Holland production that, for many, defines the Sound of Young America today. Despite the lyrics’ recommendation for patience, the song’s insistent rhythms (laid down by the legendary Funk Brothers) guarantee body movements by anyone within earshot.
The Lovin’ Spoonful: “Summer in the City” – it’s hard to detect the Greenwich Village quartet’s jug band roots on this driving ode to urban summertime heat, the misery it causes in the minor-key verses countered by the fun it promises in the major-key choruses. This is the first rock single to feature a jackhammer.
The Beach Boys: “Wouldn’t It Be Nice” – the third single from the Hawthorne, CA quintet’s timeless Pet Sounds LP had such a great flipside – “God Only Knows” – that both sides made the top 40 charts. In the UK, the single sides were flipped, gaining even greater chart success.
Dusty Springfield: “Goin’ Back” – Dusty’s soulful reading of this wistful Goffin-King composition was an international smash everywhere but in the US, where, for whatever reason, Springfield’s record company declined to release the song (which eventually became a minor hit in a version by the Byrds released the following year). The yearning nostalgia of the song’s lyrics is in sharp contrast to the youthfulness of the song’s performer and composers.
Bob Dylan: “I Want You” - the third of four singles from Dylan’s epochal Blonde on Blonde double-LP charted just weeks before the artist’s extended disappearance from the public arena after a mysterious motorcycle accident. The remarkably simple chorus lyrics are quite atypical of the increasingly complex wordsmithing Dylan fans came to expect, but that seems to be the point (driven home by the singer’s repeated, excited pleas of the title) of what’s essentially a simple love (or, more accurately, lust) song.
The Troggs: “Wild Thing” – one of the most covered (to this day) hits of the ‘60’s was a make-it-or-break-it follow-up to a failed debut single by the UK act almost named the Grotty Troggs. Though the track and its performers have a reputation for being “primitive”, few cover bands could pull off the ocarina solo featured in the song’s instrumental break.
The Velvelettes: “These Things Will Keep Me Loving You” – the final ‘60’s 45 release from Kalamazoo’s very own stars of Motown, this modest R’n’B hit – loaded with classic Hitsville touches, from a finger-snappin’ intro to catchy vocal harmonies in support of an arresting lead - should have found wider airplay, but with so much competition on the airwaves in the summer of ’66, it’s no wonder that it became a buried treasure waiting for discovery, along with so many other worthy single sides from this period, by music lovers today… and forever.
I've discovered some of my favorite music and artists from watching television. When songs play in the background or at the start or end of a show, I often search for the lyrics online to find the name of the song and the performing artist. This has served me well. House and Fringe (as well as various commercials) have provided insight to artists and performers such as Massive Attack, Damien Rice, Editors, Langhorne Slim, and Ryan Adams.
When watching a recent episode of NCIS, Cote de Pablo's character, Ziva David, was singing Temptation--a Tom Waits creation. So, in true form, I went online to search for it to see where I could find a version of her singing it (beautiful rendition!). And, that is when I found that NCIS has two soundtracks available. I was able to easily check these two CDs out through our MeL interlibrary loan system.
While I recognized artists such as Jakob Dylan, Otis Redding, Bob Dylan, Keaton Simmons, Sheryl Crow and Norah Jones, I was able to add artists such as Oasis, Blue October, and Sharon Little to my list of new folks to investigate.
NCIS: The Official TV Soundtrack