March 15: Daily Guru, "Gurucast #11"

CLICK HERE TO LISTEN (will open in new tab)


(Left Click (PC) or Command-Click (Mac) to save it to your desktop...it's about 75MB)

One hour of amazing music and SOME commentary from "The Guru" himself. Tracklisting will be added to THIS post on Thursday.

March 14: Muddy Waters, "I've Got My Mojo Working"

Artist: Muddy Waters
Song: "I've Got My Mojo Working"
Album: At Newport
Year: 1960


CLICK HERE TO LISTEN (Part 1) (will open in new tab)


CLICK HERE TO LISTEN (Part 2) (will open in new tab)



Certain moments in music history are truly indefinable, as the impact of these events forever shaped every bit of music that followed.  Whether it was Ike Turner using his busted amplifier, and recording the first “feedback,” or Johnny Cash being, well, Johnny Cash, one simply cannot overstate the pivotal role that these events served.  Then of course, there was the event that forever changed blues, jazz, and countless other genres: The 1960 Newport Jazz Festival.  Though at face value, the lineup may seem nothing out of the ordinary, there was one act on the bill that does not really “fit” within the traditional idea of jazz music: Muddy Waters.  Many today point to Waters’ performance at the festival as the turning point for the blues genre, as it was here that “the masses” got their first exposure to the power and joy that could be found within the music.  While listening to the recording, which was captured on the aptly titled, At Newport album, one can hear the crowd begin a bit unsure of how to react, but by the end, it is an all-out party at the stage.  As Waters brings his set to a close, he proves to be ever the showmen, as he brings out the rocking and rolling number, “I’ve Got My Mojo Working,” which he had recorded a few years earlier.  By the end of the song, the crowd is so completely enthralled that they demand an encore, and Waters treats them to a reprise of the song, and the combined pair forever cemented Waters’ place as a true music legend.

While the recording is from a live performance, one should be thankful that someone was wise enough to capture Waters’ entire set with soundboard quality.  Obviously, nobody could have predicted what a landmark performance it would turn out to be, but the record is so high quality, that one can easily feel the amazing mood that ran throughout the set.  The song itself is rather simple, as it follows a basic 1-4-5 progression, and yet it jumps and bumps with the finest rock songs in history.  With nothing more than Waters and his guitar, harmonica, a drummer, and a piano player, the group proves that, as always, volume rarely tops presence.  Kicking off with a brilliant piano riff, the song is instantly in top gear, as drummer Francis Clay provides a perfect, swinging backbeat throughout the entire song.  Harmonica-master, James Cotton provides a fantastic counterpart to Waters’ guitar and singing throughout the entire tune, and the chemistry between the pair remains largely unrivaled.  Truth be told, the entire group is brilliantly in sync, and though there are plenty of improvisations, the song never loses track or any power.  In fact, “I’ve Got My Mojo Working” has a fantastic “end of the show” feeling to it, and it remains one of the greatest final songs ever captured on record.  The fact that the crowd brings him back for an encore is mind-boggling, as blues music simply had not “hit” outside of the South and Chicago at that point, but the band is more than happy to treat the crowd to another round of the song, which is just as much a joy for all involved.

“I’ve Got My Mojo Working” was actually written long before Muddy Waters recorded it, and it remains one of the most highly litigated songs in history.  The song was actually written by Preston Foster, and famously performed by Ann Cole which is where Waters first heard the song.  Waters altered the lyrics slightly and attempted to copyright this “second” version.  For years, the sides went back and forth or the legality, and in the end, both songs were given separate copyrights.  While the studio recording that caused this legal battle is fantastic, it simply cannot compare to the power that is found in the At Newport version.  Waters voice has rarely sounded better, as he schools the audience with this unmistakable sound, bringing equal amounts of soul and delight.  It is also within this live performance that one becomes aware of the amazing stage presence of Waters, as he clearly has the entire crowd in the palm of his hand, and in some ways, after hearing the “first” part of the song, the encore call is a bit less surprising.  Waters truly shows off every part of his phenomenal voice, and it is moments like “I’ve Got My Mojo Working” where he makes his case as one of the greatest performers of all time.  Though the song is best known as the breakthrough moment for jazz, the overall performance of Muddy Waters was also unquestionably a lesson to all other bluesmen in “how” to blow away an audience.

One of the most difficult things about historical moments, is that a majority of them do not receive such a title until AFTER they have occurred.  This often presents a large issue when it comes to properly documenting said event, and in most cases, the recounting are second hand, or at the least, questionable.  However, back in 1960, there was thankfully someone with the foresight to “hit record” when Muddy Waters hit the stage at the Newport Jazz Festival, and what followed forever altered the musical landscape.  With Waters winning over the audience quickly, blues exploded across the world, and after hearing the recording, released as At Newport, one can understand why he had such a massive impact.  While there is not a bad moment anywhere on the recording, it is the final few minutes of his set, where he trots out “I’ve Got My Mojo Working” that certainly sent the audience home with something to talk about.  Each of the members of the band are completely tuned in to one another, and this song not only made headway for blues, but one cannot deny the rock and roll feel that the song also possesses.  From the high-octane music to Waters’ stunning stage presence, one simply must experience “I’ve Got My Mojo Working” firsthand to properly appreciate and understand why it demands such an exalted place within the long history of recorded music.

March 13: R.E.M., "Half A World Away"

Artist: R.E.M.
Song: "Half A World Away"
Album: Out Of Time
Year: 1991


CLICK HERE TO LISTEN (will open in new tab)



Throughout music history, when an album contains a hit that not only defines the band, but in some cases, an entire generation, often times, the rest of the songs on the album in question sadly become lost relics.  In a number of cases, it is these “lost songs” that are among the bands’ finest work, and without the spotlight, they are able to retain much of their impact and beauty over time. In 1991, this exact situation occurred, when R.E.M. found themselves as the most in demand band on the planet, thanks to their surprise hit, “Losing My Religion.”  Though it was not their first hit, it is one of a handful of songs that is truly inseparable from a moment in history, and yet, it is within other tracks on their Grammy sweeping Out Of Time record where the true genius of the band shines brightest.  From the rhymes of KRS-ONE on “Radio Song” to what is one of the most irresistibly catchy tunes in “Shiny Happy People,” the record shows every side of R.E.M.’s limitless creativity.  Along with amazingly original musical approaches, the band always has had the advantage of what may be their greatest strength: the unparalleled lyrics of Michael Stipe.  Clearly in top form throughout Out Of Time, Stipe gives one of his most beautiful and most soul-bearing performances ever in the form of the lonesome love song, “Half A World Away.”

As is the case with many of the songs on Out Of Time, “Half A World Away” receives a full-on musical orchestration, with R.E.M.’s members even taking on non-traditional roles for the song.  With Mike Mills playing organ on the song, Bill Berry plays bass, and that is the reason why the song features no drums.  Mills' playing is absolutely stunning, and it is his performance that gives the song an almost renaissance feel, and the interplay between he and Peter Buck is what makes all of Out Of Time so different from the rest of the bands' catalog.  Another similarity to “Losing My Religion” is the gorgeous, almost subtle touch of Peter Buck’s mandolin.  Again, this helps to heighten the overall mood, and the combined sound is what makes the music of R.E.M. stay in a category all its own.  In many ways, one can even picture a man sitting all alone somewhere, mandolin in hand, singing to a far off love, and R.E.M.’s ability to create such vivid scenes is one aspect that forever sets them far above their peers.  The string section that is featured on nearly half of the albums’ songs are present for this track, and it is their almost crying sound that makes this one of the most heart-wrenching songs ever recorded.  The full string section helps to heighten the drama which Stipe builds through his words, and it reinforces just how wonderfully genuine a song the band has created. 

While the music on “Half A World Away” is without question one of the most blissful melodies ever composed, it is the lyrics and vocal work of Michael Stipe that truly make this song so special.  Seeming to know no boundaries to his vocal range, Stipe remains one of the most captivating vocalists in history, and it is on “Half A World Away” where one gains an early glimpse of his ability to deliver words of heartfelt beauty with as much impact as he did with his social and political commentary throughout their career to that point.  Completely exposing his inner-most emotions, when Stipe lets loose his voice, it never comes across as contrived, and this purity in performance is one of the reasons he remains so revered to this day.  Over his career, Stipe has proved again and again that there are few writers that can so perfectly capture human emotion as he, and his simple, yet painfully accurate words consistently demand to be studied.  While his words to “Pop Song 89” remain some of the most misunderstood, on “Half A World Away,” he lets fly some of the most truly beautiful word-craft that the word has ever heard.  The opening refrain of, “This could be the saddest dusk, I've ever seen turn to a miracle...” is easily one of his finest phrases, and the simultaneous pain and beauty is a trick which few so perfectly possess.  Switching between yearning for his lost love, and lamenting his own state of mind, Stipe has rarely sound as strangely pained as he does here, and it is one of the reasons why “Half A World Away” is such a special song.

Often referred to as “deep cuts,” there are countless albums which feature amazing songs that for the most part, never see the light of day.  In most cases, this is due to a certain song (or songs) casting a shadow over the rest of the record, and many of these “deep cuts” remain bands’ most beloved songs by their most fervent fans.  Easily fitting this description is the song that may very well be the most beautiful lyric ever penned by Michael Stipe, "Half A World Away."  Though it bears many similarities to the song that made the Out Of Time record famous, "Losing My Religion," the song has a tone and mood all its own, and  this ability to derive multiple sounds and moods from such a similar musical arrangement is much of the genius behind R.E.M.  As the band members shuffle instruments, it becomes clear that on many levels, this is one of their most courageous musical experiments, and at the same time, the band has rarely sounded better.  The combined instrumentation from the band, along with a beautiful string section helps to create one of the most captivating moods ever captured on record, and it provides the ideal backdrop for Stipe to give one of his greatest performances ever.  Over the years, R.E.M. has proven that they truly know no musical boundaries in any sense of the word, and it is one "Half A World Away" that they prove that they are capable of creating the most sincere and truly touching love songs ever written.

March 12: Deep Purple, "Smoke On The Water"

Artist: Deep Purple
Song: "Smoke On The Water"
Album: Machine Head
Year: 1972


CLICK HERE TO LISTEN (will open in new tab)



Throughout music history, there are memorable lyrics, hooks, and moments; all of which have the ability to cross the boundaries of generations and musical tastes.  Then of course, there is “Smoke On The Water.”  Without question one of the most instantly recognizable and iconic songs in history, it remains one of the most treasured songs ever recorded.  Filled with truth and lies, as well as some of the finest musicianship ever, the song is all on its own in terms of status, and yet, it is one of the many classic songs that almost “never was.”  By far Deep Purple’s most famous composition, one can make the case that, while it is such an important part of music history, it may not be the finest moment on the groups’ classic 1972 record, Machine Head.  However, even if there is possibly a more complex musical arrangement on the album (“Highway Star”), one simply cannot deny the lasting impact of “Smoke On The Water,” and it is similarly almost impossible to think of a world in which the song did not exist.  From the iconic guitar riff to the story within the lyrics, everything about the song is truly perfect, and it is no surprise that the single powered the record to become the bands’ most commercially successful effort.  Though nearly everyone on Earth is certainly familiar with the song itself, few are aware of the truth behind the song, and this knowledge only adds to the overall greatness of Deep Purple’s “Smoke On The Water.”

Nearly everyone who has ever picked up an electric guitar as surely spent at least a few minutes smiling as they power through the iconic central riff of “Smoke On The Water.”  A simple, four-note blues scale that is harmonized in parallel fourths, the riff has been reworked by countless artists, and even was a favorite of heavy metal loving, cartoon icons, Beavis & Butthead.  The riff, composed by Ritchie Blackmore, is played slightly distorted, and Jon Lord doubles up the sound by playing the same progression on his Hammond C3 organ.  The fact that it is so basic, yet stands as such a legendary riff further supports the idea that in most cases, simpler is better.  As the hi-hat from Ian Palce comes in, the song instantly becomes one of the most catchy compositions ever recorded.  As the song progresses, bassist Roger Glover wraps around the central riff, pounding out eighth notes, which work in perfect rhythm with the rest of the track.  The final addition of the vocals of Ian Gillan are nothing short of perfect, and his voice brings the ideal balance of gritty singing, along with an undeniably powerful voice.  All of this combined together helps to push Machine Head to a place where it is undeniably one of the most important hard rock/heavy metal records ever made, and it is largely due to the power and presence of "Smoke On The Water" that this has stayed true over the decades.

While the music is without question some of the most unmistakable ever written, one cannot overlook the lyrics, as they are equally brilliant in their composition.  The song itself is based on a true story, when Deep Purple traveled to Montreux, Switzerland in order to record their album in The Rolling Stones’ mobile recording studio.  As fate would have it, the evening of the bands’ arrival, Frank Zappa was playing a show at the Montreux Casino, and it was an incident at this concert that forever changed music history.  While Zappa synth-player Don Preseton was playing the song, “King Kong,” someone in the crowd shot off a flare gun and the resulting fire burned the casino to the ground, sending massive clouds of smoke across Lake Geneva.  All of this is captured within the songs’ lyrics, as the band watched the casino burn from their hotel, located on the other side of the lake.  After finally finding another place to record, Deep Purple laid down the tracks that became Machine Head, and the truth of the matter is, they were not initially impressed with “Smoke On The Water.”  In fact, the song was not released as a single until well over a year after the album came out, but when it did, it cracked the top five on the singles chart.  The song has become such a part of history that the city of Montreux has erected a monument which features the core riff in notes on the shores of Lake Geneva.

Capturing literal history within music is something that is rarely done, and more to the point, it is rarely a successful venture.  Either the music does not do the event justice, or it is simply not something that has appeal within the musical form.  However, one can make the case that the legendary fire during Frank Zappa's 1971 concert in Montreux, Switzerland would never have made many headlines had it not been turned into song in the form of Deep Purple's iconic classic, "Smoke On The Water."  Led by what is unquestionably one of the most memorable guitar riffs in music history, the song is one of the most simple, yet perfectly crafted tunes ever, and it is mind-boggling to think that the band did not think the song was good when it was first recorded.  Though it is in the presence of many other amazing songs on Deep Purple's equally impressive Machine Head record, there is little question that this song is the one for which they are best known, and it still recieves regular airplay nearly fourty years after the event.  Over the years, the song has been covered by everyone from Black Sabbath to Pat Boone to Senor Coconut, and the fact that it has been able to transcend boundaries in both age and culture serves as further testament to the overall power of the song.  While there are many songs in music history that have withstood the test of time and are truly deserving of the label "iconic," there is simply no other song that is quite like Deep Purple's 1972 classic, "Smoke On The Water."

March 11: 311, "Freak Out"

Artist: 311
Song: "Freak Out"
Album: Music
Year: 1993


CLICK HERE TO LISTEN (will open in new tab)



When you deal with a band that has such a unique sound, one that pulls influence from so many difference genres, it is often nearly impossible not only to choose their “best” song, but even to pick a song that most fittingly represents their diverse sound.  Following this line of thought, as a band blends more styles into their music, it becomes proportionally harder to define them as a band, and there are few groups that so perfectly display this idea as one finds in reggae-funk-rap-rockers, 311.  Starting off as a band with a similar stylistic approach to Red Hot Chili Peppers, 311 infused far more of the hip-hop world into their music, and in retrospect, have proven to be a far more high-energy band.  Starting off releasing independent records in their hometown of Omaha, Nebraska, the group caught their “big break” after moving to Los Angeles and signing with Capricorn Records.  Soon after, in 1993, 311 released their major label debut, Music, and the group almost instantly began to gain a cult following.  As is the case with many bands, it is their first record which best defines them, and in the case of 311, it is no different with this record boasting a number of stellar tracks.  Among these stands one in particular, where the sound, lyrics, and overall attitude of 311 come together in perfect harmony, the ground-shaking song, “Freak Out.”

The song kicks off with a somewhat relaxed, but wonderfully funky bass groove, and this would become a trademark opening for many of the groups’ songs over the years.  These amazingly addictive riffs, the centerpiece of 311’s sound come from one of the groups’ founders, Aaron “P-Nut” Wills.  What follows this fantastic opening again personifies the groups’ sound, as the entire band drops in, already at full energy, and the music gives an instant view into how wild their live performances are known to be.  The aggressive, almost heavy metal style and tone of the guitars of Tim Mahoney and Nick Hexum provide a hard edge to the music, and it is often within this clashing of sounds that the true “magic” of 311’s music lives.  It is also via the guitar playing that the bands’ ska influences come to light, as the rhythm guitar of Hexum is often a no-so-distant cry from the roots of that genre.  The way in which Hexum and Mahoney manage to balance the heavy sound right alongside the more airy, island rhythm is a talent that remains largely unmatched, and it is one of the keys to 311’s distinctive sound.  Brilliantly playing in and around all of these styles, drummer Chad Sexton often sounds as if he is trying to completely demolish his drum kit, and his performance on “Freak Out” is no different..  Seamlessly sliding from the more aggressive approach to the bouncing sounds or reggae, Sexton’s skills are nothing short of stunning and the completely unique sound of the four is perfectly summed up in the line, “…how strange we should be here at all…”

Along with his amazing sound and presence within the musical front of the band, there has truly never been another vocalist quite like Nick Hexum.  In both vocal approach as well as the sound of his voice, Hexum is easily one of the most instantly recognizable frontmen in music history.  Again working in multiple genres simultaneously, Hexum possesses one of the most endearing singing voices, as well as bringing an uncanny presence and power in his more rap-esque vocals.  “Freak Out” brings both of these to the forefront, as well as everything in between, and the song is easily one of the finest vocal performances of Hexum’s career.  Often serving as the “response” to Hexum’s vocal “calls,” DJ Doug “SA” Martinez displays a superb vocal synchronicity with Hexum here, and the force of their combined vocals is yet another way in which 311 stands far above a majority of their peers.  It is also within the groups’ lyrics that they make themselves unique, as Hexum stands as one of the finest writers of his generation, with a majority of his lyrics able to be interpreted on multiple levels.  On “Freak Out,” Hexum drops one of his finest phrases, as the bridge sings, “…if you don’t have someone to do it with, it’s not worth doing…”  While it may come off as a very simple thought, given the nature of 311’s music, and their general attitude, one can interpret this line as a reference to everything from drugs to sex to travel and everything in between.  Hexum’s ability to make something so universal is again in line with the groups’ diverse musical approach, and it is rarely on more obvious display than within the sounds of “Freak Out.”

Often times, when a band attempts to mix more than two genres together simultaneously, it ends in a sound that is chaotic and unfocused.  Yet for more than two decades, 311 has managed to consistently create brilliant songs that infuse so many different genres, that it simply defies any sort of categorization.  Centered around a magnificent fusion of heavy metal and hip-hop, the band spins in reggae, ska, funk, and a number of other genres, creating a sound that can only be described by the band name itself.  The duo of Hexum and Mahoney are without question one of the finest musical duos of their generation, and the fact that they are still churning out exceptional songs after all these years serves as a testament to their musical prowess.  Whether they are smashing together guitar riffs that, in theory, should not sound as amazing as they do, or whether they are exploring the lighter, more musical side of their abilities, the group stands as one of the most creative bands in history.  Powered by the seemingly unending energy of the band, driven by the mesmerizing vocal work of Hexum,  With lyrics that match their music both in terms of diversity, as well as interpretation, 311 stands as one of the most important bands in history, and one can hear the sounds they pioneered within the music of countless bands that followed.  While there is hardly a “bad” song anywhere in the catalog of 311, one would be hard pressed to find a more accurate embodiment of the bands sound, or a more furious, yet fun song than one will find in their 1993 classic, “Freak Out.”

March 10: New Riders Of The Purple Sage, "Panama Red"

Artist: New Riders Of The Purple Sage
Song: "Panama Red"
Album: The Adventures Of Panama Red
Year: 1973


CLICK HERE TO LISTEN (will open in new tab)



In an overwhelming majority of cases, when the "big" artist leaves a side project, the band in question ceases to exist, or survives for a small time, based on the hype of the departed musician.  This is quite understandable, as in most cases, it was the creativity and name recognition of this artist that was the key to the bands' success.  Yet over the years, there have been a very small, elite grouping of bands that have not only survived the departure of their musical core, but in some cases, found even greater success in their wake.  Case in point: legendary folk-rock-country band, New Riders Of The Purple Sage (NRPS).  A band that was originally a spin-off of The Grateful Dead, with Mickey Hart, Phil Lesh, and Jerry Garcia all part of the first lineup, it was not until this trio stepped away that the group found their biggest commercial success.  Making their best music in the drug-fueled years from the beginning of the psychedelic movement to the emergence of disco, NRPS brilliantly blended together a number of different sounds, and though the music they create is certainly "dated," it is by no means anything short of spectacular.  The groups' forth album, and their first without Garcia & Co. is one of their finest, and even with all eleven tracks clocking in at under a half hour, the ebb and flow of the record is truly exceptional.  Filled with subtle and not-so-subtle lyrics, there are few songs that better represent a time in history than New Riders Of The Purple Sage's 1973 classic, "Panama Red."

From the moment the song kicks off, it is a full-tilt country rocker, yet it retains a wonderuflly "homey" feel, which combines for both a perfect mood, as well as an ideal way to start a record.  The biggest difference in this lineup of NRPS is pedal-steel guitarist Buddy Cage, who was in essence the replacement for Jerry Garcia.  Having met when he was a part of Great Speckled Bird whilst playing on The Festival Express tour in 1970, Cage instantly melded perfectly with his new band.  Additional guitars from both David Nelson and John Dawson creates a sensational wall of sound, and it is clear throughout the track that each of the players are absolutely loving the song.  The "twang" that runs throughout the guitar progressions is absolutely country-perfect, yet the heavy injection of the rock and folk styles keep the song in a grey area insofar as genre is concerned.  The simple drumming of former Jefferson Airplane member, Spencer Dryden is absolutely perfect for the track, and his presence further solidifies the San Francisco musical connection.  Rounding out the band is bassist, Dave Torbert, who also spent many years as part of The Grateful Dead.  In many ways, the overall sound of the "new" lineup is perfectly summed on on "Panama Red," as the almost bluegrass-folk feel that they present is unlike anything else of the era.  Furthering this idea, the album itself was commercially the groups' most successful effort, and it is also a sound they would never again perfect in this manner. 

Along with the wonderfully high energy country feel, the vocals are equally fantastic and help to push the song into musical perfection.  The voice of John Dawson, as well as the consistent group harmonies bring a soft feel and one can easily picture the song being sung around a campfire as easily as at a live performance.  Within his voice, there is also a sly, almost "knowing" grin, and much like the guitar work, it overflows with the clear sense that the group is having a wonderful time recording the song.  However, the actual writer of "Panama Red," Peter Rowen, is nowhere to be found on the album, aside from in the liner notes.  It was in fact Rowen who wrote most of NRPS' biggest hits, and there is little question that "Panama Red" remains one of his finest lyrics ever.  Though the music is a very straightforward affair, and the vocals are a perfect match, it is within these lyrics of "Panama Red" that one can find many meanings.  On the surface, "Panama Red" sounds as if it is simply a song about an outlaw who tears through town, woo's the women, robs you, and leaves; yet there is far more to be interpreted if one thinks a bit deeper.  Of all of the cities in the world, few have earned the drug-fueled reputation quite like that of San Francisco.  In large part due to groups like The Grateful Dead and others, it remains the "Mecca" of the psychedelic community.  It is taking this into consideration where one can easily read the lyrics of "Panama Red" as a drug reference, and it is further reinforced by the "...then he'll rob your head.." sentiment that runs throughout the song.  Truth be told, there was a popular strain of marijuana in San Francisco at the time that was known by the name, "Panama Red," and one simply cannot deny the connection.  Regardless of the interpretation, the song remains an absolutely classic, and one of the most uniquely enjoyable songs of all time.

The early 1970's were one of the finest eras of musical experimentation, and it produced some of the most exciting hybids of musical styles.  Having gained notoriety due to the presence of members of The Gradeful Dead, the combined country-folk-rock sound of New Riders Of The Purple Sage remains wonderfully unique more than four decades after they first recorded.  Finding themselves without any of these "famous" members, the group surely felt an increased freedom to explore new sounds, and the resulting effort is eprfectly encapsulated in the song, "Panama Red."  With its wonderfulyl catchy bluegrass-folk sound, every musical progression is fantastic, and the overall feel of the song is like nothing else in music history.  Similarly, the vocals, both solo and harmony, capture the essence of the country style of music, and in many ways, this is the most perfect "anti-cowboy" cowboy-type song.  The fact that the group was able to not only perform such amazing music after losing the core of their group, as well as find commercial success is a testament to their abilities, and this is further reinforced by the fact that the group continues to perform to this day.  Bridging the gap between the rock-based hippie crowd and the bluegrass/country scene, there is truly no other record that so perfectly walks this line, and it is one of the reasons that the group remains so well respected all these years later.  Though New Riders Of The Purple Sage had a handful of other hits that followed, there is simply nothing else that can compare to the classic, "Panama Red.

March 9: Notorious B.I.G., "One More Chance/Stay With Me"

Artist: The Notorious B.I.G.
Song: "One More Chance/Stay With Me"
Album: One More Chance (single)
Year: 1995


CLICK HERE TO LISTEN (will open in new tab)


There are few art forms where the age old saying of, "If it ain't broke, don't fix it" applies more than that of music, and in an overwhelming majority of cases, when a song is "remade" or "remixed," it simply never lives up to the overall quality of the original. This is especially true within the hip-hop genre, as countless wannabe DJ's and producers take a shot at trying to make a good song better, and in most cases, it is little more than an unknown DJ attempting to gain some notoriety via someone elses' success. Even when the artist themselves create an alternate version of the song, it often lacks the intangible element that made the original so great, and it serves as a testament to how difficult it is to make a great song. However, as is the case with any sweeping generalization, there are a handful of exceptions, and one would be hard pressed to find a more perfectly produced and unique remix than The Notorious B.I.G.'s "official" remix of his song, "One More Chance." The original comes from his stellar debut record, Ready To Die, and the remix was released in a number of places in the following years, retitled, "One More Chance/Stay With Me." While there are nearly half a dozen remixes of this remix, it is the "official" remix which stands as not only the finest of the bunch, but without question one of the finest moments of the brilliant catalog of The Notorious B.I.G.

One of the keys to nearly all of the hits from The Notorious B.I.G. was the amazing musical backing over which he rapped. Though it certainly had the hard hitting bass that was quickly becoming a trend, in many ways, the songs had a far more musical backing than those of the West Coast sound. This is likely due to the production work of Sean "P. Diddy" Combs, and throughout all of the music on Bad Boy Records, one can easily hear his influence from his days at Motown Records. Musically, the remixes sound absolutely nothing like the original song (only titled "One More Chance") and the remixes have a far more soulful and smooth feel, making it almost unrecognizable when compared to the original. The core of the remix centers around an amazing musical hook that was pulled from DeBarge's 1983 single, "Stay With Me," and this is from where the title for the remix is derived. There is also a sample from Marley Marl's "Droppin' Science" at play on the track, and the combination creates one of the most irresistible, head-bobbing tracks ever put together. This amazing music was also the reason that the remixed single found a large following, especially within the club circuit, and it is also one of the main aspects that keeps the song fresh nearly two decades after it was first released.

Though the music on "One More Chance/Stay With Me" is truly in a class all its own, similarly, there had never been another emcee quite like The Notorious B.I.G. Bringing his trademark smooth, put powerful, and almost joking style to the track, this is about as close to a "love song" as one will find anywhere within his catalog. Much like the rest of his catalog, on this track, Biggie's delivery is very relaxed, and the verses flow smoothly from him, yet they never cease to be less powerful, and as always, he demands the listeners' complete attention. Over and over, The Notorious B.I.G. proved that, regardless of the subject matter, his rhymes were second to none, and the way in which he flips his rhymes has been emulated since he first appeared on the scene. Without question, while this song is completely "for the ladies," Biggie never loses sight of reality, as he drops lines like, "...heart-throb never, black and ugly as ever..." It is largely due to this confidence that The Notorious B.I.G. was able to rule the hip-hop scene, as even though he certainly did not have the visual appeal of a majority of his peers, he was far above the rest when it came to rhyming skills. The final lyric of the song remains today one of the most iconic lines in hip-hop history, as Biggie sums it all up in one line when he says, "...lyrically I'm supposed to represent, I'm not only a client, I'm the playa President."

Claiming a single track is the "best" of The Notorious B.I.G. is a rather daunting task, as it is almost impossible to find a "bad" track anywhere within his recorded catalog. Unquestionably one of the most prolific emcees in history, everything from his rhyming style to his voice remain unmatched, and his singles hit just as hard as they did when they were first released. The fact that songs like "Big Poppa" and "Hypnotize" can still get a room jumping serve as a testament to the true perfection behind his songs, and yet it is within another track that his overall style is perfectly personified. With a smooth, soulful backing vocal provided by Faith Evans and Mary J. Blige, the voice of The Notorious B.I.G. presents a stunning contrast, and this difference in sound and style is one of the keys to the brilliance behind "One More Chance/Stay With Me." With these fantastic vocals sliding over one of the most beautiful and harmonious musical backing tracks ever put together, the song is nothing short of perfect and sounds just as good today as it did back in 1995. Though it bears very little resemblance to the original version of the song, the mood is similar, and yet there is no question that this remix can easily stand on its own. Though he left many classic songs behind, one cannot discuss the career of The Notorious B.I.G. without exploring what is easily one of his most unique and amazing tracks, the remix, "One More Chance/Stay With Me."