Tom Petty - "Free Fallin'" (1989)
Will always be associated with Jerry Maguire after Tom Cruise fails to sing along to "Bitch" by The Rolling Stones, "Angel of the Morning" by Merrilee Rush, and Gram Parsons' "She", he finally celebrates by singing this song at the top of his lungs.
Tom Petty and the Hearbreakers had recorded several successful albums, and Petty had not planed to go solo at all, but in 1988 he joined supergroup the Traveling Wilburys. One of the people he worked with was Jeff Lynne, songwriter, singer, and record producer most associated with the Electric Light Orchestra. Petty and Lynn wrote some songs together after they recorded the first Traveling Wilburys album and Petty decided that they didn't sound like 'Heartbreaker' tunes, so he decided to do a solo album. Most of the members of his band did record something for the album, but it started a rift that took some time to eventually clear the band. Adding ELO's Lynn on songwriting and producing duties means the entire album Full Moon Fever has a smoother sound, with more layers and less of the rougher sound of early Petty.
The jangling guitars almost never stop in the whole song, they provided the dreamy cloud that the rest of the song sits on. Even the verse with the military snare drum has the guitars under it. The bass is slow and you can hear it bend from one note up to the other, which just adds to the dream like effect of the song. The lyrics are dream like as well. The first verse describes an 'American Dream Girl' who loves horses, her boyfriend and Jesus. Later in the song petty sings of vampires living in the San Fernando Valley, and gliding and falling into the sky. There are many layers of backing vocals, chanting and adding texture, all of which leads me to the conclusion that the whole song is about the American Dream, and how it's all kind of a dream in Los Angeles.
Showing posts with label Rock and Roll. Show all posts
Showing posts with label Rock and Roll. Show all posts
Monday, May 28, 2012
Sunday, May 20, 2012
"At the Hop"
Danny & The Juniors - "At the Hop" (1958)
The band was original called The Juvenairs
A song so associated with the 1950s that a re-recording of the tune in the 70s by a 60s era novelty band became a hit based on nostalgia alone. In fact, it is not just a song associated with the 50s, it is the 50s to many children of the 70s who grew up during that Happy Days nostalgia fueled age. According to 1001 Songs You Must Hear Before You Die it was originally recorded as "At the Bop" referencing a specific dance craze. It was Dick Clark who suggested to writers Dave White and John Medora that they change the name to "At the Hop" referencing the name high school kids used for a school dance, and then call out a bunch of other dance names during the song. White and Medora wrote other songs together, including "1-2-3" and "You Don't Own Me" which became big hits, but nothing as big as "At the Hop".
Sha Na Na were a local New York City group in the late 1960s that performed 'oldies' tunes and began singing together in an a cappella group at Columbia University. Their college and NYC connection brought them to Woodstock in 1969 and their performance and appearance in the documentary of the concert brought them huge attention. The 70s brought us a lot of nostalgia themed entertainment, but many people point to Sha Na Na's performance at Woodstock as one of the touch off points.
The band was original called The Juvenairs
A song so associated with the 1950s that a re-recording of the tune in the 70s by a 60s era novelty band became a hit based on nostalgia alone. In fact, it is not just a song associated with the 50s, it is the 50s to many children of the 70s who grew up during that Happy Days nostalgia fueled age. According to 1001 Songs You Must Hear Before You Die it was originally recorded as "At the Bop" referencing a specific dance craze. It was Dick Clark who suggested to writers Dave White and John Medora that they change the name to "At the Hop" referencing the name high school kids used for a school dance, and then call out a bunch of other dance names during the song. White and Medora wrote other songs together, including "1-2-3" and "You Don't Own Me" which became big hits, but nothing as big as "At the Hop".
Sha Na Na were a local New York City group in the late 1960s that performed 'oldies' tunes and began singing together in an a cappella group at Columbia University. Their college and NYC connection brought them to Woodstock in 1969 and their performance and appearance in the documentary of the concert brought them huge attention. The 70s brought us a lot of nostalgia themed entertainment, but many people point to Sha Na Na's performance at Woodstock as one of the touch off points.
Saturday, April 7, 2012
"Wondrous Place"
Billy Fury - "Wondrous Place" (1960)
Does more with less.
Holding a special place in the hearts of Britons but never making it in America is normally a sign I'm going to be disappointed in a song choice by the book. This is an exception, it's got a spooky sexy feel to it that seems amazingly risky and risque for 1960. Performer Billy Fury was the second act to record the tune, but the first to get it to chart. He actually recorded a couple of versions, this later one sounds like his 'Vegas Period' with horns and a bigger richer vocal. Years later, two English front men: Alex Turner (Arctic Monkeys) and Miles Kane (The Rascals[no, not the 60s group]) formed The Last Shadow Puppets and covered the song as the B side to their debut single. It's a faithful cover with a spooky organ instead of the bass and guitars of the original, also the vocals are clearer and theirs has a great guitar solo.
Fury is purposefully over exaggerating a lot of his words here; Baby's comes across as having almost three syllables; two of which are at the beginning, and whenever he uses a 'wh' sound it sounds like he's trying to stage whisper sweet nothings into my ear. All of this was part of his very sexualized very Elvis reminiscent stage persona. Renowned early British Rock and Roll TV producer Jack Good produced the track, and together with Fury created and helped promote his British Elvis act. Britain got their own sexy rebel that was almost too hot for TV. Ironically, Fury died at age 42, just like Elvis had.
Does more with less.
Holding a special place in the hearts of Britons but never making it in America is normally a sign I'm going to be disappointed in a song choice by the book. This is an exception, it's got a spooky sexy feel to it that seems amazingly risky and risque for 1960. Performer Billy Fury was the second act to record the tune, but the first to get it to chart. He actually recorded a couple of versions, this later one sounds like his 'Vegas Period' with horns and a bigger richer vocal. Years later, two English front men: Alex Turner (Arctic Monkeys) and Miles Kane (The Rascals[no, not the 60s group]) formed The Last Shadow Puppets and covered the song as the B side to their debut single. It's a faithful cover with a spooky organ instead of the bass and guitars of the original, also the vocals are clearer and theirs has a great guitar solo.
Fury is purposefully over exaggerating a lot of his words here; Baby's comes across as having almost three syllables; two of which are at the beginning, and whenever he uses a 'wh' sound it sounds like he's trying to stage whisper sweet nothings into my ear. All of this was part of his very sexualized very Elvis reminiscent stage persona. Renowned early British Rock and Roll TV producer Jack Good produced the track, and together with Fury created and helped promote his British Elvis act. Britain got their own sexy rebel that was almost too hot for TV. Ironically, Fury died at age 42, just like Elvis had.
Wednesday, April 4, 2012
"Yakety Yak"
The Coasters - "Yakety Yak" (1958)
"/...and when you're finished doing that./Bring in the dog and put out the cat./"
I sort of made reference to this song back in January when I talked about "Is That All There Is?". I did link to it, as well as to several other recordings of tunes written by Leiber and Stoller. It was one of many hits they had in the 50s that were termed 'playlets' by the writers. It refered to the fact that it was a short story or play, set to music. In this case the plot is simple: parents want child to do chores, child responds with sass and the parents respond. It is a story so timeless that the song continues to be well known more than 50 years after its release. Children and parents, some of whom used to be those same children, have identified with the song and its simple lyrics. This song may be the bands only #1 pop hit, but they had several top ten hits, and this has lasted longer than most other early Rock and Roll tunes from the 50s. The sax solo is by King Curtis, an all around saxophone virtuoso who performed on countless hits from the 50s to the early 70s. He has already appeared once in this blog, as the saxophone soloist on Aretha Franklin's "Respect" and he is sure to show up again.
"/...and when you're finished doing that./Bring in the dog and put out the cat./"
I sort of made reference to this song back in January when I talked about "Is That All There Is?". I did link to it, as well as to several other recordings of tunes written by Leiber and Stoller. It was one of many hits they had in the 50s that were termed 'playlets' by the writers. It refered to the fact that it was a short story or play, set to music. In this case the plot is simple: parents want child to do chores, child responds with sass and the parents respond. It is a story so timeless that the song continues to be well known more than 50 years after its release. Children and parents, some of whom used to be those same children, have identified with the song and its simple lyrics. This song may be the bands only #1 pop hit, but they had several top ten hits, and this has lasted longer than most other early Rock and Roll tunes from the 50s. The sax solo is by King Curtis, an all around saxophone virtuoso who performed on countless hits from the 50s to the early 70s. He has already appeared once in this blog, as the saxophone soloist on Aretha Franklin's "Respect" and he is sure to show up again.
Wednesday, March 7, 2012
"(I Can't Get No) Satisfaction"
The Rolling Stones - "(I Can't Get No) Satisfaction)" (1965)
What can I say about the most well known guitar riff ever written?
It has become part of the folklore of the band, and the song, that guitarist Keith Richards wrote the disarmingly simple guitar lick half asleep. He woke up, pushed record on a tape deck nearby, played the riff a few times, and fell back asleep. He is quoted as describing it later as "two minutes of 'Satisfaction' and forty minutes of me snoring". What fewer people know is that he never intended it to be a guitar part. Richards wanted the part to be played by horns. In the recording studio he used a Fuzzbox to try to sound bigger and give the band a feel for what he wanted. As far as the band knew, they were just laying down a preliminary recording. Producer (and band manager) Andrew Oldham finished the song while the band was on tour, remixing and sending the song out the way he and most of the band liked it.
Mick Jagger's lyrics are well known and often quoted. It about commercialism and sexual attraction at the same time. I've always liked the /And that man comes on to tell me/How white my shirts can be/But he can't be a man 'cause he doesn't smoke/The same cigarettes as me/ (Jagger) line. It implies awareness that we are being controlled by advertising, and yet the singer being unaware how much he is being controlled at the same time. I can't not mention Bill Wyman. Wyman was the bass player for the Rolling Stones for most of their successful years. Older than the rest of the guys, married, and a bit of an outsider, Bill never dominated the headlines, but he straight owns this song. Mick Jagger and Keith Richards, two of the biggest loudest egos and players in all of Rock and Roll history are dueling on this track and what comes through? What heart blasting soul thumping sound comes across as big as The Glimmer Twins combined? Bill Wyman on bass, that's what.
Brittany Spears and Devo have both covered the tune, but if you want a hint of how the horns that Richards wanted might have sounded, check out Otis Redding's cover from Otis Blue: Otis Redding Sings Soul.
What can I say about the most well known guitar riff ever written?
It has become part of the folklore of the band, and the song, that guitarist Keith Richards wrote the disarmingly simple guitar lick half asleep. He woke up, pushed record on a tape deck nearby, played the riff a few times, and fell back asleep. He is quoted as describing it later as "two minutes of 'Satisfaction' and forty minutes of me snoring". What fewer people know is that he never intended it to be a guitar part. Richards wanted the part to be played by horns. In the recording studio he used a Fuzzbox to try to sound bigger and give the band a feel for what he wanted. As far as the band knew, they were just laying down a preliminary recording. Producer (and band manager) Andrew Oldham finished the song while the band was on tour, remixing and sending the song out the way he and most of the band liked it.
Mick Jagger's lyrics are well known and often quoted. It about commercialism and sexual attraction at the same time. I've always liked the /And that man comes on to tell me/How white my shirts can be/But he can't be a man 'cause he doesn't smoke/The same cigarettes as me/ (Jagger) line. It implies awareness that we are being controlled by advertising, and yet the singer being unaware how much he is being controlled at the same time. I can't not mention Bill Wyman. Wyman was the bass player for the Rolling Stones for most of their successful years. Older than the rest of the guys, married, and a bit of an outsider, Bill never dominated the headlines, but he straight owns this song. Mick Jagger and Keith Richards, two of the biggest loudest egos and players in all of Rock and Roll history are dueling on this track and what comes through? What heart blasting soul thumping sound comes across as big as The Glimmer Twins combined? Bill Wyman on bass, that's what.
Brittany Spears and Devo have both covered the tune, but if you want a hint of how the horns that Richards wanted might have sounded, check out Otis Redding's cover from Otis Blue: Otis Redding Sings Soul.
Tuesday, February 7, 2012
"Blue Monday"
Fats Domino - Blue Monday (1956)
What, you thought New Order invented having a case of the Blue Mondays?
It's about hating having to work long weeks and only getting short weekends off. How could you go wrong with a song like that? He even walks us through how we're going to feel Sunday morning after partying all night Saturday: it's bad, but it's worth it. This is a man that knew. Before making it big, he was working factory shifts all week to afford to travel and play clubs on the weekends. Fats Domino appealed to all audiences with this early crossover hit. This song was a number 1 hit on the early R&B charts and a top 5 on the pop chart.
That opening riff on the piano is the same kind of one Randy Newman uses, the same one you hear in your ear when young Tom Hanks shows up on your T.V. in an 80s movie, or when a TV show theme needs an opening. It just puts you in a nostalgic good time mood. The rock and roll beat is slow, but ever present in the song. Fats' rolling style of piano sitting on top of it keeps the song zipping along through the work week. When Saturday hits, the drums really pick it up in volume and let you know we're having a good time, they settle down for Sunday, but build up again to introduce the sax solo. The saxophone has been a workhorse all song long, acting as a kind of bass guitar/chord change introducer. He only gets eight bars, and what he does with them is not celebrating Saturday, he's playing the work week. Every time he gets up on the scale a little he ends up falling back down into the lower registers.
What, you thought New Order invented having a case of the Blue Mondays?
It's about hating having to work long weeks and only getting short weekends off. How could you go wrong with a song like that? He even walks us through how we're going to feel Sunday morning after partying all night Saturday: it's bad, but it's worth it. This is a man that knew. Before making it big, he was working factory shifts all week to afford to travel and play clubs on the weekends. Fats Domino appealed to all audiences with this early crossover hit. This song was a number 1 hit on the early R&B charts and a top 5 on the pop chart.
That opening riff on the piano is the same kind of one Randy Newman uses, the same one you hear in your ear when young Tom Hanks shows up on your T.V. in an 80s movie, or when a TV show theme needs an opening. It just puts you in a nostalgic good time mood. The rock and roll beat is slow, but ever present in the song. Fats' rolling style of piano sitting on top of it keeps the song zipping along through the work week. When Saturday hits, the drums really pick it up in volume and let you know we're having a good time, they settle down for Sunday, but build up again to introduce the sax solo. The saxophone has been a workhorse all song long, acting as a kind of bass guitar/chord change introducer. He only gets eight bars, and what he does with them is not celebrating Saturday, he's playing the work week. Every time he gets up on the scale a little he ends up falling back down into the lower registers.
Wednesday, January 11, 2012
"Whole Lot of Shakin' Going On"
Jerry Lee Lewis - Whole Lot of Shakin' Going On (1957)
Rock & Roll's first great wild man - The Killer
Written at least two years before Jerry Lee Lewis recorded it; the song was not a success for Big Maybelle (even with Qunicy Jones producing) or for the white rockabilly artist Roy Hall who claimed partial songwriting credit under the name Sunny David. Black songwriter Dave "Curlee" Williams is credited on Lewis' recording and in the Decca archives. Whoever wrote it, it wasn't really a hit until Jerry Lee Lewis performed it on TV.
The song is often referred to as "Whole Lotta Shakin' Going' On" or some variant. But the label on the 1957 Sun Records recording clearly says "Whole Lot of Shakin' Going On". Watching this clip of he and his band performing on The Steve Allen Show you can see the raw charisma and crazy pouring out of him. This young man from Louisiana was everything that was scary about Rock and Roll and that's why the kids loved him. He first moved to Memphis to audition for the Sun label, and began backing up other Sun artists like Billy Lee Riley and Carl Perkins. His own record starting selling after the TV performance and suddenly every rockabilly song had to have a piano, and everybody was trying to outdo the wild performance of Lewis. Elvis Presley is said to have quipped "...if I could play piano like that I wouldn't have to dance".
The song rises slowly. Just his piano, then we get a drum under it. Lewis' voice is under control. By the second verse he begins to whoop, and we get a little guitar going on under the piano and voice. After the chorus we suddenly hear what all the fuss is about. The drummer almost overplays his intro, cutting into the piano solo that Lewis bangs out. He calls out to the guitar player who finish out the instrumental break. When he gets to the point of the song where he's just vamping and talking into the microphone, telling a girl how to shake it for him you can tell right then and there he is going to be trouble.
Rock & Roll's first great wild man - The Killer
Written at least two years before Jerry Lee Lewis recorded it; the song was not a success for Big Maybelle (even with Qunicy Jones producing) or for the white rockabilly artist Roy Hall who claimed partial songwriting credit under the name Sunny David. Black songwriter Dave "Curlee" Williams is credited on Lewis' recording and in the Decca archives. Whoever wrote it, it wasn't really a hit until Jerry Lee Lewis performed it on TV.
The song is often referred to as "Whole Lotta Shakin' Going' On" or some variant. But the label on the 1957 Sun Records recording clearly says "Whole Lot of Shakin' Going On". Watching this clip of he and his band performing on The Steve Allen Show you can see the raw charisma and crazy pouring out of him. This young man from Louisiana was everything that was scary about Rock and Roll and that's why the kids loved him. He first moved to Memphis to audition for the Sun label, and began backing up other Sun artists like Billy Lee Riley and Carl Perkins. His own record starting selling after the TV performance and suddenly every rockabilly song had to have a piano, and everybody was trying to outdo the wild performance of Lewis. Elvis Presley is said to have quipped "...if I could play piano like that I wouldn't have to dance".
The song rises slowly. Just his piano, then we get a drum under it. Lewis' voice is under control. By the second verse he begins to whoop, and we get a little guitar going on under the piano and voice. After the chorus we suddenly hear what all the fuss is about. The drummer almost overplays his intro, cutting into the piano solo that Lewis bangs out. He calls out to the guitar player who finish out the instrumental break. When he gets to the point of the song where he's just vamping and talking into the microphone, telling a girl how to shake it for him you can tell right then and there he is going to be trouble.
Tuesday, December 13, 2011
"Tutti Frutti"
Little Richard - Tutti Frutti (1955)
Tutti Frutti, good booty/ If it don't fit, don't force it.
In November 1955, the world had heard Bill Haley, and Big Joe Turner, and Chuck Berry, but were still months away from Elvis' breakthrough and more than a year away from Jerry Lee Lewis. Little Richard must have driven every old person in America off the deep end. A flamboyant, makeup wearing, pompadour having, piano smashing mad black man out to teach every young person "just what to do". The original lyrics ( a taste of which are above) would have gotten Little Richard an obscenity trial in the 90s, and worse in the 50s.
Using Fats Domino's backing band, Richard (the story goes) was unhappy with how the recording session was going; feeling like he was too restrained. During a break, he started playing a song that was a big hit for him in the black night clubs he was touring at the time. The musicians jumped in and the producer (who would later go on to work with Ray Charles, Quincy Jones, Herb Albert, and Sly and The Family Stone - among others) knew that he had a hit if he could clean up the lyrics. The record label brought in a ringer to clean up the lyrics and a hit record was born.
At the time, Pat Boone's cover was more successful than Little Richard's original. Fortunately time has been on Little Richard's side. I've linked the Boone version for completionists, or the just curious, but once you've heard the rollicking original, Boone's cover just seems pallid.
Sunday, November 13, 2011
"Shakin' All Over"
Johnny Kidd & The Pirates - Shakin' All Over (1960)
This was really hard to find. Cover versions are way more popular.
Early British Rock and Roll. It was a hit in Europe when it was released, but unheard in America. It didn't even gain exposure in the U.S. until five years later when covered by a Canadian band soon to be rechristened The Guess Who. Side note, you ought to read how that name change came about, it's hard to believe; story starts in the second paragraph of this section.
So what makes this song special, well firstly, the lead singer was not doing an Elvis impression. Apparently there was a lot of that going around in England at the time. He's got a good tone for that "teenager singing about attraction" thing. This is not a love song, he doesn't know the girl he's singing about, this is no quiet ballad sung by a window in an attempt to get a kiss, this is a kind of English answer to All Shook Up, without trying to sound like anything other than who they are. One of the lines "...quivers down my membranes." is decidedly not American slang and in fact the writer and lead singer Fred Heath (Johnny Kidd himself) says it was a common saying with his mates.
Second, the rhythm guitar is being played in a really odd light finger picking style. It's hard to notice under the lead guitar, but if you can catch it, you'll notice this high pitched staccato sound. Mostly it's doubling the bass so it's hard to hear it at all in some places.
Easily the most ear catching part of the song is the dominant lead guitar. It's got a recognizable riff that I think sounds like it belongs on the Good Morning Vietnam soundtrack. It's sort of a surf rock sound which is astonishing considering how far away Soho is from Santa Monica. The twang sound right before the chorus is the guitarist running his cigarette lighter down the fretboard. After a really brief drum break, the guitar gives us a blazing (for the time) guitar solo that has got to be on of the hottest licks a British guitarist had recorded up to that point. It probably helps that he's Scottish. Session guitarist Joe Moretti wasn't even in the band, and was brought in just to juice up this track. He's also the guitarist on this slightly earlier single. He was clearly a huge early lead guitar monster. I've got no doubt that Page, Harrison, Richards, Marriott, Davies, Townshend, Clapton, and many others heard that guitar solo on this track and said, "Yes, that's it right there. That's what I'm going to do for the rest of my life."
Wednesday, September 7, 2011
"I Love Rock 'n Roll"
Joan Jett & The Blackhearts - I Love Rock 'n Roll (1981)
I saw Joan Jett & The Blackhearts at last year's Virgin Mobile Free Fest. Awesome. This year the kick-ass-woman-from-the-old-days spot is taken by Patti Smith.
This song does everything I normally don't like: repetitive guitar riffs, boring drum part that a machine could do, and really repetitive vocals. Somehow it all works. This is grungy, this is dirty. This song actually has a pretty cool guitar solo as well. Joan was 23 or so when she sang "... knew he must have been about seventeen", and every teenage boy loved her for it. The shouted chorus, and the spoken/sung over nothing but clapping hands end of verses makes this song perfect for every Rock sing-a-long you've every heard.
The production on this song is actually tight. The guitar is crunchy and dirty, but aside from the solo where it lingers, all of the normal riffs are tightly controlled. The drums do not ring, the bass doesn't crackle... all in all, the song makes you think garage/punk but upon closer inspection it is really professionally produced.
I saw Joan Jett & The Blackhearts at last year's Virgin Mobile Free Fest. Awesome. This year the kick-ass-woman-from-the-old-days spot is taken by Patti Smith.
This song does everything I normally don't like: repetitive guitar riffs, boring drum part that a machine could do, and really repetitive vocals. Somehow it all works. This is grungy, this is dirty. This song actually has a pretty cool guitar solo as well. Joan was 23 or so when she sang "... knew he must have been about seventeen", and every teenage boy loved her for it. The shouted chorus, and the spoken/sung over nothing but clapping hands end of verses makes this song perfect for every Rock sing-a-long you've every heard.
The production on this song is actually tight. The guitar is crunchy and dirty, but aside from the solo where it lingers, all of the normal riffs are tightly controlled. The drums do not ring, the bass doesn't crackle... all in all, the song makes you think garage/punk but upon closer inspection it is really professionally produced.
Saturday, September 3, 2011
"Summertime Blues"
Eddie Cochran - Summertime Blues (1958)
Everything on Youtube is live, so we're going to try viddler.
I always loved this song as a kid. It was the deep bass vocals. It wasn't until I was a little older that I understood what the song was even about. It was just a funny song with a deep voice to me. As a teenager the song seemed written for me. I think a lot of people feel that way, it was covered by The Who, Alan Jackson, The Beach Boys and Olivia Newton John among others. The book rightfully points out that this was a pretty rebellious song for 1958. He doesn't want to work all summer; he wont work late, and even his congressman admits that he is being ignored because he is too young to vote.
The song is simple, rockabilly guitars, driving bass, hand claps as percussion, and a vocal with that little catch on summertime that blends the Country with the new Rock and Roll. I really do love the "grown-up" voice. It's always saying the downer part of the story, but it always makes me laugh. That's nostalgia for you.
Friday, August 19, 2011
"When the Levee Breaks"
Led Zeppelin - When the Levee Breaks (1971)
Played on the news whenever flood waters threaten the heartland, including just a few months ago, the original version of this song was written in 1929 to commemorate the 1927 Mississippi flood. According to many historians, the flood was responsible for the second great wave of Southern African Americans leaving and heading for Northern cities; as well as the election of Herbert Hoover, and part of why African Americans left "The Party of Lincoln" and shifted to the Democrats. But this is a music blog, and I'm not "Weasel", so back to it.
Hell of an intro right? Reverberating drums, a backward echo harmonica part, and one of the most famous guitar riffs ever recorded. The whole seven minute song never lets up, and never lets you go. I love the beginning of the bridge, it gets lighter for just a few seconds, makes you think the storm is over, and then CRASH; right back in the thick of it. Everything is echo and reverb and frankly, if you have crappy tinny little speakers, this song must sound awful. Put some headphones on, some big over the ear jobbies. Or put in on your home entertainment center if you want to shake the house down.
Monday, August 15, 2011
"Heartbreak Hotel"
Elvis Presley - Heartbreak Hotel (1956)
Elvis had some help on this record. In addition to his regular backing trio, pianist Floyd Cramer and guitarist Chet Atkins played. I specifically looked that up because the piano in particular is stunning on this track. It's like a waterfall, dancing over the right and "wrong" notes until finally settling in. So I looked it up and found Mr. Cramer, who it is said popularized the "slip note" style so different than his contemporaries. Well let me tell you, this is one of the songs that popularized it. Elvis' voice is almost mesmerizing, a real downer of a song that really resonated with the kids. Don't let anybody tell you that "Emo" is a new thing, or that kids listening to depressing music is one of the signs of the end of days.
Elvis had some help on this record. In addition to his regular backing trio, pianist Floyd Cramer and guitarist Chet Atkins played. I specifically looked that up because the piano in particular is stunning on this track. It's like a waterfall, dancing over the right and "wrong" notes until finally settling in. So I looked it up and found Mr. Cramer, who it is said popularized the "slip note" style so different than his contemporaries. Well let me tell you, this is one of the songs that popularized it. Elvis' voice is almost mesmerizing, a real downer of a song that really resonated with the kids. Don't let anybody tell you that "Emo" is a new thing, or that kids listening to depressing music is one of the signs of the end of days.
Tuesday, August 9, 2011
"Johnny B. Goode"
Chuck Berry - Johnny B. Goode (1958)
There was Rock and Roll before Johnny B. Goode. There were great Rock and Roll guitar players before Chuck Berry. Heck, Chuck Berry had some great hits before he laid this track down. But this is one of the seminal records, and you know it the moment it starts. One of the most recognizable opening licks in music; and non stop for two and a half minutes, this song still teaches kids to dance today. It's also a musical version of the American Dream, a sort of Horatio Alger with a guitar thing.
Listening critically, the guitar is repetitive, the piano doesn't get enough love (too much focus on the guitar in the mix) , and the drums are so dull a child could play. That being said, it was wildfire when it came out. Chuck Berry may have had bigger hits, and may have had better songs. But this one is still a hit, and if you aren't ready for it, well... your kids are gonna love it.
There was Rock and Roll before Johnny B. Goode. There were great Rock and Roll guitar players before Chuck Berry. Heck, Chuck Berry had some great hits before he laid this track down. But this is one of the seminal records, and you know it the moment it starts. One of the most recognizable opening licks in music; and non stop for two and a half minutes, this song still teaches kids to dance today. It's also a musical version of the American Dream, a sort of Horatio Alger with a guitar thing.
Listening critically, the guitar is repetitive, the piano doesn't get enough love (too much focus on the guitar in the mix) , and the drums are so dull a child could play. That being said, it was wildfire when it came out. Chuck Berry may have had bigger hits, and may have had better songs. But this one is still a hit, and if you aren't ready for it, well... your kids are gonna love it.
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