The Daily Guru

January 27: Daily Guru, "Something Old, Something New #46"

2012-01-27T08:13:00.000-05:00

It’s Friday, and that means another dose of “Something Old, Something New” with The Daily Guru. Share and enjoy.

January 26: Alan Lomax

2012-01-26T01:36:00.058-05:00

Within the modern era of music, the idea of a sound or artist being "lost" is almost unthinkable, as technology has made the processes of recording and preservation very simple and affordable to people across the globe. However, both of these realities are relatively new when one looks at the entire history of recorded music, and during the first half of the last century, there were countless artists that will never be heard due to the limited range that music could travel. In fact, during the early 1930's, the reality that entire genres appeared to be fading away moved the U.S. government to seek out ways to preserve their musical history. This led to The Library of Congress taking a far more proactive role in "saving" the music of the country, and it was this that would lead to the first "field recordings" that have received widespread circulation. Once the government purchased this then-state-of-the-art recorder, they sought out an individual to scour the countryside and document the amazing music that was being created, concentrating on the more roots-based music of the era. To this end, The Library of Congress hired a man and his son to do the job, and over a four month period in 1932, the pair covered more than eighteen thousand miles, capturing recordings of some of the most important figures in music history. It is due to his presence on this trip, as well as his continued quest to preserve music for generations to come that makes Alan Lomax one of the most important figures in all of music history.

During this first trip in documenting the music of America, Lomax focused on mostly folk and blues acts, and the latter of these led to many recordings and prisons across the Southern part of the country. It was during one of these sessions that Lomax came across a prisoner named Huddie Ledbetter, and Lomax would soon head up a small team that would work for his release from prison so he could bring his songs to the masses. Ledbetter remains today one of the biggest figures in the history of blues music, but during his journeys, Lomax also recorded the likes of Robert Pete Williams, Aunt Molly Jackson, and a young man who went by the name Muddy Waters. The recordings that Lomax made were all placed into the Library of Congress, and in later years, they would be released in various forms, allowing the entire world to experience these moving, raw performances. Yet Lomax made similar inroads within the world of folk music; as it was this style that presented the musical compliment to the sound of the blues. Much as he did in the case of Ledbetter, Alan Lomax is also responsible for the first recordings of the man who may very well be the most important figure in all of music history: Woody Guthrie. These early sessions remain today as some of the finest in the Guthrie catalog, and as these songs reached the rest of the country, it became the catalyst for massive cultural changes.

As the years progressed, Alan Lomax shifted his efforts to the world of jazz music and many other styles as they developed, and due to his presence and work over the years, one can easily make the case that the remains the most important historian and field-taper in the entire history of music. In fact, in the late 1930's, Lomax began delivering his efforts via a different medium, as he played many of his recordings on a series of radio programs that would run over the next few years. As his radio shows continued over the years, it would be his presence and sound that would lead to both the folk and blues revivals that occurred during the 1950's and 1960's, making his early recordings all the more valuable, as well as pointing the spotlight on many artists that had been believed to be "lost." Yet Lomax also did a great deal of work within the same realm, but on an international level, as he was one of the key editors in the groundbreaking eighteen-volume Columbia World Library Of Folk And Primitive Music, which was released in the U.K. in the 1950's, taking advantage of a new technology: the LP record. Even today, the Lomax recordings for The Library of Congress can still easily hold their own in terms of quality, and are far beyond anything else in terms of historical importance, and there is no arguing any other person in history as having an even remotely similar level of importance to the development and appreciation of music than Alan Lomax.

January 25: Daily Guru, "Ask The Guru #02"

2012-01-25T08:08:00.000-05:00

Today brings another edition of "Ask The Guru." Share and enjoy.

January 24: Daily Guru, "Gurucast #108"

2012-01-24T00:02:00.001-05:00

January 23: Daily Guru, "Something Old, Something New #45"

2012-01-23T08:12:00.000-05:00

It’s Monday, and that means another edition of “Something Old, Something New.” Share and enjoy.

January 22: Five Horse Johnson, "Mississippi King"

2012-01-22T01:07:00.089-05:00

Artist: Five Horse Johnson
Song: "Mississippi King"
Album: The No. 6 Dance
Year: 2001

CLICK HERE TO LISTEN (will open in new tab)

Over the past three decades or so, there has been one statement within the world of music that seems to be one of the "go to" criticisms for people ranging from music critics to television anchors that wish to seem better informed. The idea of "rock and roll is dead" comes up so often, that if one does not know better, it could lead to some small level of belief in this absolutely ludicrous statement. While it can be states that rock music certainly has a great deal of competition within the musical mainstream, and that it has a much different overall tone than the sound of rock music in the late 1960's; there is no question that there are still a massive number of rock bands all across the world. Yet there are also some bands that display a clear love for the tone and feel of the rock music of yesteryear, and few groups have perfected this as perfectly as Ohio-bred rockers, Five Horse Johnson. Bringing a combination of the sleaze and smoke of groups like AC/DC and Aerosmith, and the rocking-sway similar to that of ZZ Top or Molly Hatchet, yet ensuring that it had just as much "modern appeal" as any other current rock band, Five Horse Johnson easily appeal to a massive range of music fans. All of their various influences came together in absolutely fantastic balance on their 2001 release, The No. 6 Dance, and few songs better represent the bands' sound than their song from that album, the blistering track "Mississippi King."

The moment that "Mississippi King" begins, everything that makes Five Horse Johnson such an enjoyably unique band within the current world of music is completely apparent. It is the grit and grind within the guitars of Brad Coffin and Phil Durr that instantly grab the listener, and there is no question that this sound would have fit just as perfectly in the era of their influences as it does in more modern times. The way that the guitars seem to sway back and forth with a massive presence is nothing short of addictive, and on many levels, it is the almost "dirty" sound found here that is the very essence of the hard rock approach. Even when they are trading short solos or adding perfectly placed fills, it is the guitars that drive the song, and there is no question that the chemistry within this band is far beyond that of a majority of their peers. Underneath the fantastic dual-guitar sound, bassist Steve Smith injects a powerful groove into "Mississippi King," and the fact that an Ohio-based band is able to create such a heavily "Southern style" rock sound is a testament not only to their talents, but also to their understanding of how music itself works. The bassline has far more range and appeal than almost any other from the current era of music, and the way that it locks in with the sound of drummer Eric Miller serves as a superb reminder as to what "real" rock and roll is all about.

Much in the same way that the music found all throughout the catalog of Five Horse Johnson manages to place a fresh spin on a classic sound, the vocals from Eric Oblander strike a similar balance. Yet it is within his performance where one can hear a definite influence from the world of heavy metal, as the way that he delivers the vocals is something that steps beyond "just" a hard rock sound. There is an almost fun-loving aggression within his voice, and it is the spirit with which he sings that vaults "Mississippi King" to a level beyond nearly all of their peers. It is the fact that Oblander is able to bring a somewhat-sleazy sound to his singing, yet never become cliché or sound artificial that is the key to the appeal of his voice, and once one hears his singing, it is clear just how perfectly the entire band would have fit into the sound of the early 1970's rock movement. Furthermore, the lyrics to "Mississippi King" are in many ways as quintessential rock and roll as one can find anywhere, and the suggestive, somewhat mischievous nature of the words match perfectly with both the music and singing. It is the way that the song is able to so seamlessly blend seemingly cryptic allusions with a clear sexual subtext that pushes "Mississippi King" to further greatness, and the fact that throughout all of this, the links to the "Southern sound" are reinforced, shows just want a talented band lives within Five Horse Johnson.

With each passing year, the number of bands playing "real" rock and roll music dwindles, perhaps due to the fact that most record labels prefer more bland, polished sounds that they can sell to the uninspired masses. Thankfully, across the world there are a number of groups that refuse to compromise their sound and personality, creating a consistently refreshing reminder of how rock and roll music should truly sound. Among these bands, few are as good as Five Horse Johnson, as their mixture of a wide range of influences yield a brand of rock music that is able to remind the listener of the sounds of the early 1970's, whilst staying firmly rooted within the modern sound. The dual-guitar sound that the band brings to "Mississippi King" gives it a presence that is somewhat imposing, and yet it is the high-octane, almost party-like swagger that also comes through in the song that makes it nothing short of an outright musical pleasure to experience. In fact, one can argue that it is the sense of "fun" that one can feel in the music that is largely missing from a majority of modern acts, and this distinction can be found in every aspect of the song. Furthermore, it is the fact that the band are able to deliver this feeling and overall musical quality on every one of their songs that sets them so far apart from most other bands in the current music scene, and there are few songs in recent history that can even remotely compare to the power and style found on Five Horse Johnson's magnificent 2001 track, "Mississippi King."

January 21: The Adolescents, "Adolescents"

2012-01-21T02:27:00.060-05:00

Artist: The Adolescents
Album: Adolescents
Year: 1981
Label: Frontier Records

Within the history of every musical style, there are a number of sub-genres that many argue formed from a wide range of instances. One of the biggest issues one encounters in such arguments is in deciphering exactly "where" one style ends and another begins, as in many cases, the sounds are very similar. Both of these statements are rarely more true than in the space where punk and hardcore music intersect, and yet it is in this place where some of the most exciting and important music in history resides. Though one can easily argue that the roots of both punk and hardcore are firmly within East Coast bands, it was the spin on these sounds created by West Coast bands that pushed the sound forward, and there were few areas more important to this development than Southern California. More directly, it was in the Los Angeles area, as well as the surrounding "beach towns" that served as the breeding ground for many of the most important and fierce bands in the genres' history, and among the best of these bands stands The Adolescents. Though their most potent period of musical creation was exceptionally short lived, the band remains one of the greatest of the era, and their influence on later bands is absolutely immeasurable, and there are few records that are as outright powerful and enduring as one can experience within The Adolescents' legendary 1981 self-titled debut.

Throughout this record, one cannot get past the fact that each musical arrangement has an intriguing drive and tone, and yet there is a cleaner sound than on a majority of similar records. It is the fact that both the music and vocals are so much clearer and have superior sonic quality that instantly makes Adolescents a better album, and yet the content is also far beyond almost all of their peers. It is the way that so many of the songs seem to slowly creep in, creating an amazing level of tension, and the way that the band are able to sustain this tension, that makes this record easily withstand the test of time. There is no question that in most cases, it is the bass playing of Steve Soto that is the key to the overall sound, as he is able to lead the band with slightly imposing, always brooding and powerful tone. When one adds in the sound of guitarists Frank and Rikk Agnew, there is an almost overwhelming feel to the songs, and they also deliver a power that was the perfect sound for music fans looking for an alternative to the mainstream sound. The guitars seem to ring out from every angle, in some ways seeming to provoke the listener, and it is the amount of movement these three are able to create within the music that makes these songs so superb. Rounding out the band is drummer Casey Rover, and it is the high-energy, yet often mid-tempo style that he brings which completely separates the sound of The Adolescents from that of any other band of the era.

Serving as the ideal finishing touch to the overall sound of The Adolescents, singer Tony Cadena has what is without question one of the definitive voices of the entire punk and hardcore era. Cadena has just enough snarl in his voice to engage those who seek such a sound in their singer, yet at the same time there is a clarity to his vocals that enabled him to reach a wider audience. It is also the fact that one can easily sense the tension and frustration in every word that makes every song on Adolescents fit so perfectly alongside the music of those by whom they themselves were influenced. Yet it is the content on songs like "Kids Of The Black Hole" that has enabled both the band and album to remain such an integral part of the development of both hardcore and punk rock, as even more than thirty years after its release, the subject matter is just as relevant within the punk rock culture. It is the unapologetic realism that one finds in nearly every song on the album that largely defines much of the sound of the area from which the band came, as while other groups were taking on massive political issues, often times, The Adolescents simply reported the reality of the world in which they lived. It is the aggressive defiance that one can hear within Cadena's voice on every song that is in many ways the quintessential punk sound, and yet it is the way with which he delivers each line that makes him a sound completely onto himself.

In nearly every aspect, Adolescents was able to rewrite what was possible within the hardcore and punk styles of music. Whether it was their ability to retain musical intensity within a slightly slower cadence, or the fact that the songs on the album were sometimes nearly three times the length of the "standard" punk song, their contributions to the evolution of the genre cannot be overstated. One can also make the case that The Adolescents were far more musical than nearly all of their peers and influences, and this is perhaps the reason that their extended instrumental sections are able to work within the punk ethos. As the decades have passed, their entire self-titled debut record has become one of the most iconic records in the entire history of punk rock, and even after that time, the potency of the songs has not diminished in the least. Every song still leaps from the record, instantly grabbing the listener, and with each song, one is quickly transported to dirty, slightly destroyed apartments or other social gathers. Yet at the same time, the level of "family" that existed and continues to exist within the "true" punk scene can be felt within Cadena's vocals, and this is why the entire album has become an anthem within the community. Though they remain slightly overlooked in comparison to some of their peers, there are few bands as important or musically powerful as one can hear within The Adolescents' brilliant 1981 self-titled debut album.

January 20: Daily Guru, "Something Old, Something New #44"

2012-01-20T08:12:00.000-05:00

It's Friday, and that means another dose of "Something Old, Something New" with The Daily Guru. Share and enjoy.

January 19: Paul Rothchild

2012-01-19T01:49:00.056-05:00

All across the long history of recorded music, one can rattle off lists of the "greatest" performers from a given era or style. Though it may not seem that these groups and artists all have one thing in common, the reality is that in almost every case, their amazing talents were properly conveyed to the world due to the presence of excellence "behind the boards." From engineer to producers to other individuals who helped to shape these sounds, they are often the most overlooked part of a given recording, and yet there is no question that they are beyond essential. Many of the most highly revered producers in all of history hit their stride during the mid-to-late 1960's, as with music itself expanding in countless different directions, there was a freedom to "experiment" within the studio that had never before occurred. Whether it was attempting to find ways to make the music "move," different recording techniques, or simply finding a way to capture the essence of a band within the studio environment, not only did top-notch production require an exceptional level of skill and knowledge, but it was also necessary for the individual in question to have a wide range of creativity. Truth be told, due to the status that many of the albums from this era hold, the producers have become institutions onto themselves, and few are more distinguished or outright vital to the history or music than legendary producer, Paul Rothchild.

While he is certainly best known for his work within the realm of rock and roll during the tail-end of the 1960's, the fact of the matter is that Paul Rothchild began his recording career working with mostly folk acts. Before he began on the recording-side of music, Rothchild was studying the art of classical conducting, but found himself drawn to the "new" sounds of the rising folk movement during the late 1950's and early 1960's. After a few years, Rothchild became the "house" producer for Elektra Records, which was at the time almost exclusively working with the folk realm. Though most are unaware, during this period Rothchild worked with the likes of Tim Buckley, Tom Paxton and many other luminaries of the world of folk music. However, as the label began to move with the times, looking more toward the rock acts, Rothchild quickly adapted, creating fantastic records for bands like Love and Paul Butterfield Blues Band. It was during this time period that Rothchild quickly became one of the most in-demand producers on the planet, as there was a warmth and honesty within his recording that was somehow different from that of any of his peers. During his career, Rothchild became the producer of choice for everyone from Janis Joplin to The Everly Brothers, and his name can be found on a number of the greatest albums ever recorded.

However, it would be his efforts with a new band that Elektra Records signed in 1967 that would become Rothchild's most well known and outright finest achievement. Truth be told, the label had been having great difficulty in finding a producer that could bring the proper sound and presence out of this new band, and it would be Rothchild that would serve in at least partial producer capacity for each studio effort from the then-rising band, The Doors. It was the way that Paul Rothchild was able to capture the dark intensity that came forth from this band which made him almost an instant legend, and due to the way that he helped the band achieve their musical vision, many refer to Rothchild as "the fifth Door." In fact, there are numerous accounts of recording sessions for The Doors "falling apart," and only getting completed due to the efforts of Rothchild. It was his ability not only as a producer, but in finding ways to properly blend together the different musical personalities of this band that enabled the world to experience their absolutely brilliant music; and one can easily make the argument that had it been any other producer, the albums likely would have never been completed. Many later producers would "borrow" many of the approaches and techniques that were utilized throughout the wide range of albums which he produced, and there is simply no getting past the fact that when one considers the most import "non-musicians" in all of music history, few are more critical to the evolution of music than Paul Rothchild.

January 18: "Guru Soapbox: Punk"

2012-01-18T08:45:00.002-05:00

Today, I set the world straight on a subject that's bothered me for quite awhile. Tune in and get your learn on!

January 17: Daily Guru, "Gurucast #107"

2012-01-17T00:06:00.001-05:00

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 commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song or album):
1. The Jimi Hendrix Experience, "Are You Experienced?" Are You Experienced?
2. DEVO, "Clockout" Duty Now For The Future
3. King Krule, "Bleak Bake" King Krule (EP)
4. Ween, "Piss Up A Rope" 12 Golden Country Greats
5. Cracker, "Teen Angst (What The World Needs Now)" Cracker
6. Joe Strummer & The Mescaleros, "Cool 'n' Out" Global A Go-Go
7. The Evens, "Warble Factor" 2-song single
8. Dr. Dre, "Nuthin' But A "G" Thang" The Chronic
9. Dvorak, "Slavonic Dance No. 2"
10. Alice In Chains, "Angry Chair" Dirt
11. Johnny Cash, "Country Boy" Unchained
12. The Specials, "Doesn't Make It Alright" The Specials
13. Morphine, "Super Sex" Yes
14. 2nu, "This Is Ponderous" This Is Ponderous
15. The Rugburns, "My Carphone's On The Pill" Morning Wood

January 16: Daily Guru, "Something Old, Something New #43"

2012-01-16T08:08:00.000-05:00

It's Monday, and that means another edition of "Something Old, Something New." Share and enjoy.

January 15: Stubborn All-Stars, "Pick Yourself Up"

2012-01-15T02:30:00.063-05:00

Artist: Stubborn All-Stars
Song: "Pick Yourself Up"
Album: Back With A New Batch
Year: 1997

CLICK HERE TO LISTEN (will open in new tab)

As is often the case when a non-rock genre finds its way into the mainstream, the "pure" representation of this "new" genre is often still far from the ears of the general public. Though certain hybrid sounds, which combine this non-traditional element with rock music may gain some notoriety, it is rare that the "authentic" groups gain as much credit. This has perhaps been no more true than when one considers the seemingly strange emergence of ska and reggae-styled music within the mainstream music during the mid-1990's. Groups like No Doubt, Save Ferris, and Reel Big Fish were suddenly giving the general public the impression that "this" is how ska music sounded, though the reality is a far cry from their musical approaches. Thankfully, there were a number of bands around the world that were staying true to the amazing mixture of sounds that becomes the reggae-ska bounce, and many of the best were a part of Stubborn Records. Among this amazing stable of bands, there was perhaps none better than the aptly named and created Stubborn All-Stars, and in many ways, one can see them as a "super group" of New York based musicians. Their 1997 record, Back With A New Batch, remains one of the most vibrant and enjoyable ever recorded, and one can find The Stubborn All-Stars at their best on the song, "Pick Yourself Up."

In many ways, the fact that The Stubborn All-Stars create such brilliant music should come as little surprise, as the group lives up to their name, containing some of the finest SKA musicians on the planet. King Django combines pieces of his former band, Skinnerbox, as well as a handful of other amazing musicians of the genre. Django's trombone, along with the trumpet of Rolf Langsjoen (Skinnerbox) and the saxophone of Dave Hillyard (The Slackers), gives The Stubborn All-Stars one of the most potent and bright horn sections in recent history. From the moment that "Pick Yourself Up" begins, it is the horns which completely captivate the listener, and it is the powerful brightness to their sound that makes the song so addictive. It is the deep groove found within the various horn lines which give the track an amazing amount of depth, and yet the track itself is driven by the fantastic rhythm that lies beneath this element. Combining guitars from David Hahn (Skinnerbox/The Slackers) and "Agent J" (Agent 99), along with the rhythm section consisting of shared basswork from Victor Rice and Sheldon Gregg alongside drummer Eddie Ocampo, the group effort prove to be the key element in the fantastic sound of The Stubborn All-Stars. It is the way that these light touches are able to exude so much positive energy that sets this song so far apart from other bands of the time, and yet "Pick Yourself Up" is as timeless a song as one can find anywhere.

Serving as a perfect mirror to the overall mood of the music, the vocals form King Django are inspiring and were clearly recorded in a studio environment that was exceptionally positive. It is the fact that the singing works so seamlessly with the music that vaults "Pick Yourself Up" to a level beyond their peers, and you can easily feel how King Django was singing with the overall mood and spirit of the song, as opposed to a written-out cadence or rhythm. Furthermore, due to the nature of his voice and the way he delivers the lines, it is difficult not to sing along with a track like "Pick Yourself Up," and this is reinforced by the superb lyrics contained within the song. In many ways, this track represents one of the core elements of the ska sound, and that is the uplifting, almost prideful lyrical approach so many bands took over the years. Throughout the song, King Django reminds the listener that all throughout life, there will be many obstacles, but if one perseveres through them, there is greatness and happiness on the other side. However, it is within the lines, "...nobody's gonna give you no free ride...you've got to work real hard to have something of your own..." where one can find the core of the bands' message; encouraging the listener to take charge of their own life and the idea that "nothing beats honest, hard work."

Throughout the 1990's, a number of different genre titles were slapped on to popular music that, while perhaps not really what the genre was, gained the label simply because it was the "closest." While this may have made it easier for listeners to classify the style of music, the truth of the matter is that in many cases, this "new" sound was not representative of what the genre actually contained. During the middle of that decade, the term ska was being thrown around to nearly any band that incorporated horns into their music, but were not "retro-swing." Such laziness in genre identification did have one positive effect: the "true" bands of the genre became far more obvious. With their phenomenal music, amazing lyrics, and one of the most mesmerizing and overall enjoyable sounds in music history, The Stubborn All-Stars stood as the ideal example of how ska music should have been represented. Led by the brilliant vocals and writing of King Django, the group was comprised of many of the most talented and highly respected players in the ska/dub scene at the time, and "Pick Yourself Up" represents the group at their finest in nearly every respect. From the absolutely dazzling musical arrangement and the overall mood that it conveys, to the inspiring and engaging lyrics, the song proves that staying true to a form and making "honest" music can rarely be topped, and there are few songs that can compare to the power and presence of The Stubborn All-Star's extraordinary 1997 track, "Pick Yourself Up."

January 14: Moby Grape, "Moby Grape"

2012-01-14T04:16:00.069-05:00

Artist: Moby Grape
Album: Moby Grape
Year: 1967
Label: Columbia

While there are many cities around the world that have close and longstanding associations with certain styles of music, few are as synonymous as that of San Francisco, California and the psychedelic explosion of the late 1960's. Though most people can rattle of a list of a number of bands that emerged from this scene, the reality is that in most cases, the quintessential "San Francisco psychedelic band" is left out of the conversation. Perhaps due to the fact that they were seemingly plagued by bad luck in every sense of the word; or maybe because they did not fit the exact "image" of such a group, the band rarely receives the credit the deserve. But even with these realities, the fact remains that there is no better a representation of the true essence of the psychedelic movement than what one can find in the music of Moby Grape. Creating some of the most irresistible rock-based groove of their entire generation, the band showed very few flaws in terms of their music during the early years of their career; and one can easily argue that it was these first few years that was the finest for Moby Grape. Bringing together elements of folk, jazz, r&b, and country all under the umbrella of a rock-based sound, there were few, if any other bands that could compare to their sound. While there are no "bad" recordings from this time period, one can easily argue that to find the ultimate in "true" psychedelic rock, one need look no further than Moby Grape's brilliant 1967 self-titled debut.

Throughout Moby Grape, one can hear the bands' seemingly endless array of influences come though, as each song manages to be entirely musically unique, and yet fit together perfectly as a single cohesive musical work. From slow, meandering passages deeply rooted in folk and soul to some of the earliest vestiges of what would be called "garage rock," the band shows just how much one can extract from the psychedelic sound, and it is this quest for diversity that set Moby Grape so far apart and above their peers. In fact, there are many points on the album where one can argue that the band was well ahead of their time, most clearly during the places where they utilize a triple-guitar sound. Most prominently during the song "Omaha," the way that the guitars of Jerry Miller, Peter Lewis and Skip Spence come together is nothing short of sheer musical brilliance. Furthermore, throughout many of the songs, it is the attitude that one can feel within the guitars that show a bit more grit and grind than was "normal" for the time, and this can be seen as one of the connections from the psychedelic sound to the later formation of the hard rock genre. However, it is also the unforgettable melodies that run through nearly every song that make Moby Grape such a fantastic musical achievement, and it is this ability to retain some elements of popular music that were often overlooked in many of the psychedelic bands.

Yet it is also the fact that while the band does an amazing job of layering the sounds of their instruments, it is the way that their voices work just as perfectly in harmony that vaults Moby Grape to such a highly revered status. While Skip Spence handles the leads on a majority of the songs, it is the almost unexpected way that his voice blends so seamlessly with the instrumentation that makes many of these songs nothing short of blissful. But through almost every word that is sung on the album, there is a vibrancy and energy that pulls the listener further into each track. The fact that Spence and most of the other vocalists show an endless vocal range gives the songs even more depth, and in many ways, the vocals on the album highlight everything there was to love about the psychedelic and "surf" style harmonies. It is also due to these factors that there is an almost communal feel to many of the songs, and even after hearing these songs only a single time, it is difficult to not sing along with each and every song. Yet the most intriguing aspect of Moby Grape may be the fact that they show a greater lyrical diversity than nearly any band in history, proving that one can construct massive allusions alongside economic wordplay and never seem lost or jumbled. It is in the latter of these elements where one can draw a connection to the punk style that would develop a decade later, and combined with the traces of hard rock, one can see just how important a band lived within Moby Grape.

Whether it is due to the more assertive, somewhat distorted guitars or the more easy flowing and melodic pieces that are clearly drawn from the folk movement, few bands have displayed as much sonic diversity as one finds in Moby Grape's debut record. It is the fact that there is a dazzling swing and shake provided by the rhythm section on so many songs, and there is simply no escaping the allure that explodes from each of Moby Grape's classic songs. In fact, it is the more hard-driven sound that comes through on many of these songs that might make one think the band came from the more rock-based New York City scene, and yet there is no denying that their sound is rooted in the psychedelic sound. Though they may not present the stereotypes of that genre in as clear a manner as some of their peers, the reality is that they brought a style of rock and roll that was completely unique at the time, and the impact of their music can still be felt to this day. Over the years, countless bands have recorded their own covers of many Moby Grape songs, and yet it is the original versions that easily reign supreme more than four decades later. From the almost shockingly original and certainly ahead-of-its-time musical arrangements to absolutely mesmerizing vocal performances, there are few records that can compare to Moby Grape's flawless 1967 self-titled debut.

January 13: Daily Guru, "Something Old, Something New #42"

2012-01-13T08:10:00.000-05:00

It's Friday, and that means another dose of "Something Old, Something New" with The Daily Guru. Share and enjoy.

January 12: The Funk Brothers

2012-01-12T02:18:00.062-05:00

Throughout the course of music history, there have been countless artists and bands that have failed to receive the accolades they deserve for their contributions. In an overwhelming majority of cases, such performers were simply "too ahead of their time" or were overshadowed by other artists, leading to their becoming a bit of a footnote in music history. Yet there are a few artists that fall under neither of these categories, and each case is an unjust act onto itself. However, above all other musical miscues and failure to acknowledge influence and efforts, there stands one reality that is a true travesty of music history: The Funk Brothers. Though few are familiar with the name, there is not another band in history that can claim such a string of success, as well as creating the blueprint for almost every style of music that followed. Truth be told, The Funk Brothers were a part of more than two hundred of the most memorable songs of all time, including more than eighty that reached the number one spot on the charts over the years. Many of their melodies and hooks have become parts of international culture, and yet even with the worldwide recognition of their music, few are aware of the artists who created these amazing sounds. The fact remains, if you pick up almost any "classic" song from the "golden age" of Motown Records, you can almost guarantee that the backing band is none other than the legendary Funk Brothers.

Perhaps moreso than any other band in history, the membership of The Funk Brothers was absolutely massive, with more than fifty performers working under that name. However, when one digs deeper into "who played on what," there are thirteen musicians who define the core of the band, and it is they who are the "true" Funk Brothers. From Stevie Wonder to The Supremes to Edwin Starr to Marvin Gaye, these musicians proved time and time again that their ability to create irresistible grooves were far beyond not only their peers, but any band from any other point in history, and it is this reality which enables so many of their songs to remain just as fresh and exciting today as they were more than four decades ago. Whether it was due to the dazzling, deep "walking" basslines of the legendary James Jameson or the groundbreaking drum work from William "Benny" Benjamin and Richard "Pistol" Allen, one would be hard pressed to find a finer and more creative rhythm section from any other point in history. In fact, the way that the rhythm section worked and created together would inspire the style of pop music for more than two decades, and many elements of their form can still be heard to this day. However, it was often the way that the band utilized a wide range of horn players to give their songs such punch as well as diversity, and one can easily understand why it was this combination of sound that completely rewrote "what" was necessary for superior pop and dance music.

Yet there was so much more to the music of The Funk Brothers than just their grooves and horns; and it was these additional elements that led to some of the greatest moments ever captured on tape. Whether it is the iconic guitar lead on The Temptations' "My Girl" or the extraordinary piano refrain on The Isley Brothers' "This Old Heart Of Mine (Is Weak For You)," one can list off countless ways that The Funk Brothers were able to expand their soundscapes with almost any instrument they could find. However, it was when all of these elements came together perfectly, such as on Martha And The Vandellas' classic, "Nowhere To Run," where one can quickly understand just how unique and special a group of musicians existed within The Funk Brothers. Furthermore, up until the point that the group emerged, most musicians of the type were simply "session players" and would be replaced on a whim. But the staff of Motown Records understood that it was this combination of players and personalities that were giving an unmistakable and distinctive sound to their label, and other recording labels would soon follow with their own "regular" configurations. But there is no question that none of these later groups could compare to the influence and outright style one finds in the massive catalog of the "house band" of Motown Records, and it is due to the content of their recordings that one can argue there was never a finer band than The Funk Brothers.

January 11: Gabbing With The Guru: Dave & Ethan

2012-01-11T08:49:00.001-05:00

In the premiere of Gabbing With The Guru, musicians and comedians Dave & Ethan stop by to chat and play a song live.

January 10: Daily Guru, "Gurucast #106"

2012-01-10T00:06:00.001-05:00

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 commentary from "The Guru" himself.

Tracklist (links are to MY review of that artist, song or album):
1. Metallica, "Hit The Lights" Kill 'Em All
2. Smashing Pumpkins, "Love" Mellon Collie And The Infinite Sadness
3. The Clash, "Know Your Rights" Combat Rock
4. Telefon Tel Aviv, "What Is Was Will Never Again" Map Of What Is Effortless
5. Creation, "Making Time" Making Time (single)
6. The Fall, "Taking Off" Ersatz G.B.
7. Erykah Badu, "Otherside Of The Game" Baduizm
8. Jerry Lee Lewis, "Lovesick Blues" Classic Jerry Lee Lewis
9. The Ruts, "Something That I Said" Peel Sessions
10. The Little Willies, "Lovesick Blues" For The Good Times
11. Mozart, "Symphony #40, 1st Movement"
12. Danger Mouse/Daniele Luppi, "Two Against One" Rome
13. Run DMC, "You Be Illin'" Raising Hell
14. Elmore James, "Dust My Broom" The Sky Is Crying

January 9: Daily Guru, "Something Old, Something New #41"

2012-01-09T08:14:00.000-05:00

It's Monday, and that means another edition of "Something Old, Something New." Share and enjoy.

January 8: The Faith, "You're X'd"

2012-01-08T01:20:00.064-05:00

Artist: The Faith
Song: "You're X'd"
Album: The Faith/Void split EP
Year: 1982

CLICK HERE TO LISTEN (will open in new tab)

Though many music scholars and fans of the genre in question may wish to think it different, the reality is that much of the "thrash metal" movement was taken from a single hardcore band. While there were certainly many other influences, primarily the darker and louder rock bands of the 1970's, it would not be until the early 1980's that the formula would begin to manifest itself in its more modern sense. In the wake of the "punk explosion," many bands across the planet were finding different ways to work the ethos of that genre into different styles, and this is what created the unique hardcore sound that emerged at that time in Washington, D.C. It would be that city which would produce many of the most important bands in the hardcore style, and one of the earliest, The Faith, would be one of the most short-lived, yet critically important to the development of multiple genres. Formed in the wake of the first hiatus of Minor Threat, The Faith were in some ways an "all star" lineup of members of groups that had recently disbanded, and yet the music the quartet created is unquestionably unique. There is a fire and energy in every song that the band plays, and yet it is the way that the guitars are played and mixed on their early tracks where one can find the clear blueprint for the "trash metal" sound. Due to the sonic quality, as well as the overall tone and intent behind the song, there are few recordings that better define the brilliant sound of The Faith than their 1982 track, "You're X'd."

The moment that "You're X'd" begins, there is a presence on the song that is unlike anything else from their era or genre. It is the way that the opening crush of guitar almost has more in common with Black Sabbath than any of their hardcore peers that makes it clear how distinctive an approach The Faith took on every song. Guitarist Michael Hampton is in the spotlight for nearly the entire song, and there is a tone to his playing that is a sonic fusion that had rarely sounded as outright perfect. Throughout the song, Hampton manages to retain the urgency and angst of the hardcore movement whilst injecting a grind and grit that made it impossible to mistake his sound for that of anyone else. It is the speed and aggression with which he plays that would become a major part of the "thrash metal" movement, and once one hears this song, the connection cannot be denied. However, the rest of the band plays with equal power and skill, and yet most overlook the fantastic basswork of Chris Bald. It is within his playing where much of the tension on "You're X'd" resides, and one can easily imagine his bass whipping an audience into a complete frenzy. It is the way that he locks in with drummer Ivor Hanson that gives the song as imposing a presence as it has, and Hanson's playing is an unrelenting pummeling that is as "hardcore perfection" as one can find anywhere.

Yet it is the vocals of Alec MacKaye that serve as the ideal finishing touch to the overall sound of The Faith, and his work on "You're X'd" is some of his best in every sense of the word. Much like many of his contemporaries, it is the combination of frustration and urgency within his shouting that makes him such a captivating performer, and yet there is a venom in every word that sets him far apart. In many ways, it is difficult to pinpoint exactly "what" it is that sets MacKaye so far part from others, but the reality remains that the proximity that one can detect to the lyrics, as well as the almost righteous feeling one gets from his performance refuses to be ignored. It is also within the vocal work of Alec MacKaye where one can find some of the earliest "push back" at the growing "straight edge" movement; and many of the lyrical sentiments found in "You're X'd" still hold true to this day across many different genres. Though it (the movement) had only been "in existence" for a year or two at best, the reality is that "posers" and those not completely committed or understanding of what it was about had already flooded into the scene. MacKaye holds nothing back, calling out those who, "...you drink, you fuck behind my back...," and it becomes instantly clear that not only does he feel the lifestyle in question is correct, but those who are not completely committed should not claim differently.

From the guitars to the rhythm section to the vocals, there is not an aspect of "You're X'd" that is anything other than completely captivating; and it is the overall urgency with which The Faith deploy every element of their music that make it impossible to deny any of their importance. One can see "You're X'd" as one of the first "warning calls" to those in any movement that were not completely committed to certain ideals, and it remains one of the most unapologetic songs every recorded. To this day, the song retains every bit of its impact, and even after hearing the track countless times, it is still just as powerful and invigorating. In so many ways, "You're X'd" represents everything it meant to be a hardcore band at the time, as not only is there a blazing, almost chaotic musical and vocal arrangement, but with the song clocking in at just over one minute, there is not a moment wasted in any sense of the term. Yet the fact remains that it is the way The Faith constructed songs like "You're X'd" that would open entirely new ways to approach the hardcore sound; and one cannot deny the strong link between the band and the growth of the "trash metal" style. However, even had this sound not developed as it did, the music of The Faith would have been just as powerful and important, and they rarely sounded better than on their 1982 recording, "You're X'd."

January 7: Dexter Gordon, "Go"

2012-01-07T02:17:00.062-05:00

Artist: Dexter Gordon
Album: Go!
Year: 1962
Label: Blue Note

See My Video Review Of The Album HERE

For an artist to "reinvent" themselves is without question one of the most rare and truly unpredictable feats that can be accomplished. As trends and styles change, an overwhelming majority of artists slip away from being relevant, and are only followed by the most devoted of fans. However, every once in awhile, and artist is somehow able to find success a second time, and the way in which this is achieved is so random and rare, that it is impossible to make any sort of general statement on "how" this is achieved. Yet even with this "reinvention" being such an anomaly, there is in fact one artist who accomplished this feat not once, but three times. Standing as one of the most important figures in the entire history of jazz music, one can almost follow the rise and fall of jazz trends through the unparalleled recordings of the one and only Dexter Gordon. From his early days, backing everyone from Nat King Cole to Louis Armstrong to Dizzy Gillespie, to his later years, in which he was one of the more controversial performers due to his personal life, there were simply no other tenor saxophone players of the "bop era" that played as beautifully or as brilliantly as the man they called "Long Tall Dexter." While his early recordings are unquestionably fantastic, there are few studio recordings that are as truly flawless, or carry the same power and feel as Dexter Gordon's monumental 1962 recording, Go!

When it comes down to it, Go! is all about mood, and few albums from any genre have been able to be as lively and outright appealing as one can experience on each of the albums' songs. Even when they are playing a somewhat slower or more soulful tune, it is the vitality within the quartet that becomes one of the keys to the overall greatness of the album. Much of this tone lives with the brilliant rhythm section of drummer Billy Higgins and bassist Butch Warren. Both of these players are onto themselves absolute jazz legends, and as a team they are without question one of the most impressive jazz pairings in history. Higgins has a dynamic flair that is far beyond almost any of his contemporaries, and it is the combinations, fills and overall style that he deploys on each song that in many ways stand as the defining sound of jazz drumming. In the case of Warren's bass-work, it goes a bit unnoticed as the original mix of Go! has him slightly too far back in the overall sound. However, on the 1999 re-release, this problem is corrected, and one can fully appreciate the deep-grooving mastery that he brings to each of the songs. It is the way that these two lock in with the sound of pianist Sonny Clark that makes Go! so spectacular, and there is no question that Clark's interplay with Gordon is one of the most impressive in music history. Clark brings a far harder and more aggressive approach to his playing than most of his peers, and yet it is the way that each musician clearly understands "their place" on every song that enables the overall product to become so mesmerizing.

However, while the trio behind him are without question one of the finest ever assembled, it is the performance of Dexter Gordon on tenor saxophone throughout the entire album that vaults Go! to legendary status. Whether he is swiftly bouncing across the track on "Cheese Cake" or delivering some of the most stunning and soulful lines and themes on "I Guess I'll Hang My Tears Out To Dry," it is the contrast between these the two songs that shows the unmatched talent and range which Gordon possesses. The way in which Gordon rephrases and winds around the core riffs on every composition is nothing short of sensational, and in many ways, one need to only hear the album once to fully understand why Dexter Gordon remains such an important figure in the history of jazz music. These varying alterations and improvisations highlight Gordon's notorious ability to hold his own with any jazz player, and his creativity and sheer emotion are also highlighted on every second of the album. Furthermore, it is the fact that Gordon leaves enough space for the rest of his band to shine that shows that he fully understood that jazz was a "team effort," and it is the way that one can hear the musicians passing the lead around, and clearing enjoying the session, that pushes Go! to the most revered status, and one can easily make the case that this album represents the finest moment in the entire career of Dexter Gordon.

While each of the four players is absolutely at the top of their talents, one can still argue that the most intriguing aspect of all of Go! is the amazing mood which is created by the quartet. Truth be told, each song has an absolutely stunning live feel, and there are times when it seems almost inconceivable that this is a studio session. It is this reality which countless jazz musicians attempted to achieve, and yet once one hears it done "properly," the imitators are put into a clear perspective. This serves as a testament to the extraordinary talent and chemistry between the four musicians, and it is one of the main reasons that the album remains in such vaulted status all these decades later. Though one can easily understand that this mood is largely due to the players involved, one cannot overlook the fact that the record was produced by Blue Note Records founder, Alfred Lion, and this surely played some role in the albums' unparalleled mood. There is an upbeat freedom that runs throughout all of Go!, and even for those who are not familiar with a great deal of jazz music, the record follows clear enough lines that it can be enjoyed by music fans from all generations and preferences. This final fact is a testament not only to the players involved, but the actual compositions they selected for the recording, and in every aspect, there has simply never been another album on par with Dexter Gordon's brilliant 1962 release, Go!

January 6: Daily Guru, "Something Old, Something New #40"

2012-01-06T08:17:00.000-05:00

It's Friday, and that means another dose of "Something Old, Something New" with The Daily Guru. Share and enjoy.

January 5: Alan Freed

2012-01-05T02:30:00.064-05:00

Though there are many people throughout all of music history that can lay claim to various "firsts" and groundbreaking accomplishments, in almost every case, the "right" to call themselves the first in that area can be debated by a number of other individuals. In reality, it rarely matters who was first, it is the fact that the event itself occurred that sent subsequent ripples across the world of music. However, there are a few moments that are so vital to the progression of the art of music that they stand as historical points onto themselves, and there is no question that one of these came courtesy of a man named Albert James Freed. While most know him as Alan Freed, or perhaps by his longtime radio nickname, "Moondog," it is he who is largely responsible for one of the biggest shifts in mass musical consumption, and it is work as a disc jockey that has made him a legend within the world of music. It was also the location of Freed's seminal moment that earned Cleveland, Ohio the nickname of "The Rock And Roll City," and it is now home to the Rock And Roll Hall Of Fame And Museum. Standing as perhaps the most important figure in the entire history of the r&b and rock movements, it was in fact Alan Freed who first used the term "rock and roll" on his radio program in the early 1950's, and the world would forever be changed.

This massive change within the world of music came about shortly after Freed moved from Akron, Ohio to Cleveland, were after a number of jobs, he secured a spot on the radio station WJW. However, most historians agree that it was NOT Freed who came up with the term, nor was it solely his idea to play rhythm and blues records on his radio program. Freed had a friendship with a man named Leo Mintz, who at the time ran one of the largest record stores in all of Cleveland, Rendezvous Records. It was during the final years of the 1940's and the early 1950's that Mintz began selling rhythm and blues records in his store; and at the beginning of 1951, the number of such albums that he was selling to "white kids" was impossible to ignore. It was due to this reality that Mintz encouraged Freed to play some of these albums on the air, and this turned into reality on July 11 of that year. As an "on-air personality," Freed was far more forceful and energetic than nearly all of his peers, and this fit well with the tone of the music, and quickly garnered him a large following of young people. In fact, Freed's shows became so in demand that taped episodes were soon being aired in New York City, and the music industry as a whole began to focus promotions in Cleveland, quickly making it one of the hotbeds for up and coming musicians.

Yet Freed is also responsible for another important "first," and this occurred on the evening of March 21, 1952 at the Cleveland Arena. The event was called "The Moondog Coronation Ball," and it featured a bill of five different "rock style" acts, and many point to this as the very first rock concert. In fact, the event was sold well over capacity of the arena, and it was shut down early by police, which would become a common occurrence at large-scale rock concerts over the following years. To this day, the event is still held yearly in Cleveland, paying tribute to the original in terms of the spirit of the event. Yet even though it was ended early, the impact of The Ball was undeniable, and Freed soon found himself being given far more airtime at the radio station, and within a few short years, he found himself broadcasting from New York City, as well as international locations. In many ways, it was the excitement and energy that Freed brought to his broadcasts that set him far beyond his contemporaries, and his insistence on bringing the "new" sound of rock and roll to the masses would shape the entire world of music for decades, and in many ways is still relevant to this day. Whether it was due to his usage of the term, the style of music he played or the fact that he put on the "first" rock concert, there are few individuals in history that have had as longstanding and outright groundbreaking an impact on music as a whole as one finds in Alan Freed.

January 4: Daily Guru, "Get Over Yourself, Rock Snob!"

2012-01-04T08:20:00.000-05:00

In today's video, I take on the world of rock music over the past thirty years. Share and enjoy.

January 3: Daily Guru, "Gurucast #105"

2012-01-03T00:07:00.001-05:00

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 commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song or album):
1. Grinderman, "Kitchenette" Grinderman 2
2. Goldfrapp, "Strict Machine" Black Cherry
3. Tom Petty & The Heartbreakers, "Money Becomes King" The Last DJ
4. Descendents, "Bikeage" Milo Goes To College
5. Parliament, "P Funk (Wants To Get Funked Up)" Mothership Connection
6. The Damned, "Love Song" Machine Gun Etiquette
7. 311, "Champange" From Chaos
8. Howlin' Wolf, "Smokestack Lightnin'" Howlin' Wolf
9. Manu Chao, "Luna Y Sol" Clandestino
10. Esthero, "Indigo Boy" Breath From Another
11. Nirvana, "Frances Farmer Will Have Her Revenge On Seattle" In Utero
12. Sublime, "Paddle Out" Sublime
13. Fats Waller, "I Ain't Got Nobody" Ain't Misbehavin': 25 Greatest Hits
14. The Clash, "Capitol Radio" Live In Chicago
15. Van Halen, "Beautiful Girls" Van Halen II

January 2: Daily Guru, "Something Old, Something New #39"

2012-01-02T08:09:00.001-05:00

It's Monday, and time for the first edition of "Something Old, Something New" of the new year! Share and enjoy!

Daily Guru 2012 Preview & Contest Details

2012-01-01T12:15:00.001-05:00

Big changes are coming to the channel in 2012…here's what's happening…also, contest details!

January 1: Blood, Sweat And Tears, "Spinning Wheel"

2012-01-01T03:54:00.077-05:00

Artist: Blood, Sweat And Tears
Song: "Spinning Wheel"
Album: Blood, Sweat And Tears
Year: 1968

CLICK HERE TO LISTEN (will open in new tab)

Looking back at the entire history of recorded music, one can make the argument that an overwhelming majority of bands take a similar path throughout their careers. In most cases, after spending years perfecting their sound, the group catches a "lucky break" and finds larger success. It is usually this stage of the bands' progression which is not only the longest, but the most fruitful in terms of musical output and creativity. Though there are some groups that take years to "prove" themselves on the larger stage, there are a few bands that seemed to take the opposite approach, hitting their apex the moment they "got big," and then took a swift turn downwards. While there is no question that they stand as one of the most musically creative and outright talented bands in history, there may be no other group that was as quickly disappointing as Blood, Sweat And Tears. Their first album was nothing short of a masterpiece; as the band found a brand new space at the intersection of psychedelic, jazz, pop, rock, and a number of other genres. This was followed by a self-titled release later that same year, and it seemed that the band had a limitless amount of musical potential, as the songs on this record were in many ways more complete and outright stunning than those on their debut. It is with this in mind that one can point to Blood, Sweat And Tears' fantastic 1968 single, "Spinning Wheel" to quickly learn why they stand as one of the most brilliant bands in music history.

While "Spinning Wheel" fits perfectly into the overall catalog of Blood, Sweat And Tears, there is no questioning the fact that within the opening notes, the music sounds a bit different than the songs off of their previous album. This is not a "bad" thing in any way, and it is likely due to a few small changes within the overall lineup of the band. Yet within seconds of the song beginning, the mood is set into place, and it is difficult to not be completely caught up in the tone of "Spinning Wheel." It is the way that the hard-hitting horns contrast the overall groove of the song, and it is musical juxtapositions such as this that keep the song sounding fresh even after more than four decades. Unlike almost any other recording from the era, it is the way that the piano progression from Dick Halligan becomes the cadence of the song, as well as the way that it creates a poly-rhythm with drummer Bobby Colomby. Bassist Jim Fielder manages to find a pace and a riff between these two, and as this third tempo comes to life, one can quickly understand just how far beyond their peers Blood, Sweat And Tears were in terms of musical ability and creativity. Yet it is the brass section and the way they play throughout all of "Spinning Wheel" that is the true musical highlight, and the fact that the song features some rather unexpected, yet superb solo sections makes it impossible to place "Spinning Wheel" into any single musical grouping.

However, the most obvious change in the sound of Blood, Sweat And Tears from their first album is the fact that this record features David Clayton-Thomas handling almost all of the lead vocals. There is a spirit and vibrancy to every line which he sings, and it is this energy which enabled such a change in overall sound to work perfectly in the overall scope of the band. The slight grit in his voice lends a bit of soul to "Spinning Wheel," and it is the way that his voice seems to be mixed at the same volume as the instruments that give the song a blending that is wonderfully unique. As he sings, Clayton-Thomas' voice seems to swirl around the track, and in many ways this is as ideal a "psychedelic sound" as one can find anywhere, yet there is an unquestionable rock edge to his approach. But it is also the somewhat cryptic lyrics to the song that make this a quintessential piece of the late 1960's counter-culture, as the spinning element of his voice makes the words all the more powerful. Though one can certainly interpret the song as a look at life in general and the realities therein, it is phrases like, "...just let it shine within your mind, and show you the colours that are real..." and the multiple references to the "painted pony" that give the song a vivid and almost wild feel that were nothing short of perfect for the period during which the song was first released.

Truth be told, perhaps due to the amazing sounds of their first album, one can argue that Blood, Sweat And Tears was a very highly anticipated release, and it easily lived up to that hype. In fact, "Spinning Wheel" would be nominated for a trio of Grammy Awards, taking home the honors for "Best Instrumental Arrangement" for that year. Once one hears the song, it is quite obvious why it was given such accolades, and the influence of this song can be found in a wide array of bands that followed. It is the way that "Spinning Wheel" has an almost classical structure, moving between very distinct segments, and allowing each musician on the track of have ample time at the front of the mix. The way that the horns work across the mix, as a solo instrument, a punctuating point, as well as the backing chords to the mix is absolutely unlike any other recording in history, and this may be the most lasting impact of Blood, Sweat And Tears. Furthermore, the fact that the horns work so perfectly within a more rock-styled arrangement would lead to similar attempts from bands across the planet, and yet there is an almost smoky and jazzy feel here that remains completely unique. Also, it is the almost playful sound of the traditional Austrian song, "O Du Lieber Augustin" that closes the song which makes Blood, Sweat And Tears 1968 song, "Spinning Wheel" one of the most uniquely unforgettable moments of all time.

A Note From The Guru: Duty Now For The Future

2011-12-31T12:38:00.000-05:00

3. 1095. 1,754,834.

For those wondering, that is the number of years, days, and words that I have put into this website. Since January 1, 2009, there has been fresh written content here EVERY day. I somehow managed to not miss a single day in that entire time period. I have published entries from 16 different states and 6 different countries and under the pressure of countless other deadlines and life realities. Yeah, I am damn proud of it, so that is my moment of bragging.

But, as George Harrison wrote, "all things must pass," and as I sit here with the writing for 2011 complete, I feel it that the time is now…sort of.

As most of you are aware, the second half of this year brought to life a rather unexpected YouTube channel that I have been enjoying creating content for to say the least. It is not that I enjoy it more or less than writing, but after three years, I will admit that it is a nice break for my brain to express my love for music through a different medium. It is with that in mind that 2012 will bring about some rather drastic changes to the site.

First and foremost, there will still be BRAND NEW content EVERY day. I am not willing to sacrifice that in any way, shape or form. I feel it my duty to bring music knowledge to the masses, and I take that job quite seriously. BUT, there will not always be new writing. Here is what the 2012 weekly lineup will be:

Monday - "Something Old, Something New" video on YouTube
Tuesday - Gurucast podcast
Wednesday - "Special" YouTube video (I will explain this down the post a bit)
Thursday - write-up on a "music personality" (Alan Freed, Paul Rothchild, etc)
Friday - "Something Old, Something New" video on YouTube
Saturday - write-up on one of the greatest ALBUMS in history
Sunday - write-up on one of the greatest SONGS in history

One of the main reasons for this shift is my hope that this shift away from writing each and every day will allow me to finish off the last of my book. Since it too is about music, you can understand how the "burn out factor" plays into trying to write a book after writing entries for each day. Also, I have made a point to not repeat any artists on albums or the two years of songs, and I do not want to "dilute" the quality of the songs and albums on the list. Furthermore, I am excited for the "music personality" section, as I feel there are so many important figures in music that never picked up an instrument.

Oh, and that "special" YouTube bit will be a rotating series of videos. They will be The Guru Soapbox, Ask The Guru, Get Over Yourself, and a new segment called "Gabbing With The Guru" where I will be sitting down with bands, music industry types, and other music obsessives. Also, there will be a monthly contest to win new music…details are in THIS VIDEO (coming Sunday).

Also, there will be stickers, shirts, and other "Guru stuff" coming in 2012…yep…it's going to be sweet!

So that, as they say, is "the plan." As I said, this site is important to me on a level I cannot put into words, and that is the reason I never even considered doing anything other than daily content. All I ask is that if you know someone who you think might enjoy the site and content, toss them a link. I NEVER have ads on this site, and I never will. This site is not about the money, it's about bringing amazing music to the masses.

To each of you who have been reading for a few days or a few years, thank you from the bottom of my heart. Seeing the daily hit count, and the comments and emails, makes it worth it each and every day.

-Joel

"…somewhere in my soul, there's always rock and roll!" -Joe Strummer

December 31: Louis Armstrong, "What A Wonderful World"

2011-12-31T01:57:00.073-05:00

Artist: Louis Armstrong
Song: "What A Wonderful World"
Album: What A Wonderful World (single)
Year: 1968

CLICK HERE TO LISTEN (will open in new tab)

Across the long history of recorded music, there are a select few songs and musicians without whom it is almost impossible to picture a world. These singular moments and individuals have so massively shaped the entire history of music and culture as a whole that they transcend any boundaries, and have truly become part of humanity onto themselves. Across all nations, languages, generations and any other sort of convention of classification, these unique songs and people cannot be mistaken, and it is the moments when the latter creates the former that the most unforgettable and outright life-changing songs in history exist. Strangely enough, when one considers this exceptionally short list, one of, if not the most prominent example is a rather odd one, as it does not very accurately represent the talents of the main performer, Louis Armstrong. Making his name as one of the earliest and most successful jazz soloists from as early as the 1920's one can easily make the case that there would have been no jazz, no blues, and none of the genres that formed after, had it not been for the talents of Louis Armstrong. As perhaps the greatest trumpet player in history, Armstrong also possessed what may be the most instantly recognizable voice of all time; and it is this element, combined with his almost saint-like presence, and has turned his 1968 recording of "What A Wonderful World" into one of the true masterpieces in the entire history of recorded music.

There is no question that the opening progression of "What A Wonderful World" has become one of the most well-known of all time, as the beautiful string ensemble gently sways the song back and forth. The fact that this arrangement was able to garner so many fans from across the musical spectrum is nothing short of inexplicable, as the popular music of the late 1960's was about anything that was far from a standard or "older" sound. However, the reality remains that this orchestration has a presence that cannot be denied or ignored, and in many ways, it is this performance which shows the true power of classical instrumentation, as to this day, it still sounds fresh and is just as captivating. It is also the way that the lone guitar plays in the left channel of the mix throughout the entire song that gives "What A Wonderful World" its distinctive tone, and due to the way that this sounds, one can make a bit of a link to the folk sound of the era. Furthermore, the slow cadence from the drums almost has a country-western tone to it, and this may explain why "What A Wonderful World" was able to so easily cross over into so many different categories of music fans. Yet the fact remains that the power of the music lives within the string section, and the way that the players build and release the tension throughout the song is truly as good as music has ever been performed.

While one cannot deny the moving nature of the music throughout "What A Wonderful World," the reality is that it is the unmistakable voice of Louis Armstrong that vaults this recording far beyond any other song in music history. When one considers his back catalog, it is strange to think that he found such success with his raspy vocal sound, and yet one can argue that almost every slower song or ballad that he recorded has an allure that is unlike anything else. On "What A Wonderful World," Armstrong truly set a standard, as he is able to give a sense of hope and happiness that stays strong even after hearing the song countless times. Furthermore, the fact that the song was released during a time of such world-wide unrest is perhaps part of why it became such a massive success. In many ways, one can see "What A Wonderful World" as a bit of a relief or escape from the often dark realities of the "real world," as the moment that the song begins, one cannot help but be lifted away to a more simple, more peaceful and pure time. It is the way that Armstrong's voice carries the listener, lifting the spirits and somehow "making everything ok" that has enabled "What A Wonderful World" to easily endure the decades, and there may be no better example of the true power that a song can have than the feeling that one gets throughout this legendary vocal performance.

As the years have passed, few songs have been covered as widely or more often than "What A Wonderful World," and one can find versions recorded by everyone from Joey Ramone to B.B. King to Willie Nelson to The Flaming Lips, and countless other groups have recorded their own take on this song. However, there is no question that amid all of these takes on "What A Wonderful World," Armstrong's original still stands miles beyond the rest, as the purity, simplicity, and outright beauty in his sound are impossible to match, let alone top. This is further supported by the fact that while the song has been used in a massive number of films and television shows over the years, it is rare that any version other than the Armstrong take is the one that is chosen. Yet strangely enough, upon its initial release, "What A Wonderful World" barely charted in the United States, largely due to the fact that the then-head of ABC Records did not like the song, and it was not properly promoted. However, it became a massive hit in the U.K., and would becoming the biggest selling song of 1968 in that country. In fact, "What A Wonderful World" did not chart in the United States until twenty years later, when it was used in the film, Good Morning, Vietnam, though by that point, the song was already a "standard." Truth be told, it is impossible to consider a world in which this song did not exist, and it is the reason that there is not another recording from any point in music history that is worthy of being mentioned in the same breath as Louis Armstrong's legendary 1968 single, "What A Wonderful World."

December 30: The Leaves, "Too Many People"

2011-12-30T01:18:00.078-05:00

Artist: The Leaves
Song: "Too Many People
Album: Too Many People (single)
Year: 1965

CLICK HERE TO LISTEN (will open in new tab)

During the middle years of the 1960's, there is no question that it was somewhat difficult for any rock band from anywhere aside from The U.K. to breakthrough on an international level, as "that" sound was overpowering everything else across the globe. However, while there were a handful of bands that manged to do just this, it is the music of some of the lesser-known groups of that era that provided not only some of the finest music, but the building blocks for the next generation of musicians. Though it was certainly most famous for being the hub of the psychedelic movement during the latter part of the decade, the reality is that preceding those years, San Fransisco, California produced some of the finest rock bands of the entire generation, and their contributions to the progression of music cannot be denied. Among these fantastic bands, there was the group that took influence from many of the British rock acts, and yet founds ways to incorporate far more blues and folk into their sound: The Leaves. Seen by many as one of the strongest and most talented bands to emerge in the wake of The Byrds, one can easily make the case that they had a unique sound all their own, and they remain one of the few bands of the era that once heard, can never be forgotten. Though they had a handful of hits during their career, few songs better define their sound or the mood of the time period than The Leaves' classic 1965 single, "Too Many People."

The moment that "Too Many People" begins, the unique musical approach that The Leaves brought to nearly every one of their songs is obvious, and it is led by the brilliant harmonica work from John Beck. While the instrument itself has its roots in blues music, it is the way that Beck gives it a bit of a swing and more modern feel which sets it apart from the more "standard" harmonica sound, and one can hear his influence on many later bands that attempted the same idea. The way that it blends in with the rest of the instrumentation is nothing short of perfect, and "Too Many People" gains as much of a "classic" 60's sound as one can handle the moment that the guitar of Bill Rinehart enters the song. It is the tone with which he plays that is so unforgettable, as one can hear everything from surf rock to rockabilly to the "new" sound of rock and roll in his playing, and it is also the rhythm with which he plays that lights up this song. Rhythm guitarist Robert Lee Reiner emphasizes these elements, and the swing created by him is one of the most enjoyable aspects of the entire song. The fact that the bass from Jim Pom is so far forward in the mix, as well as the way that it deploys a heavy, strict groove along with drummer Tom Ray gives "Too Many People" almost a growl that is far more aggressive than most other songs of the era, and one can easily make the case that The Leaves were the precursor to what is now called "garage rock."

However, if there is one element that shows just how much The Leaves were simultaneously breaking new musical ground, whilst somehow fitting in perfectly with the sound of the time, it was the vocals from Jim Pons. As soon as one hears his voice, it is almost impossible to not draw a comparison to the sound of Mick Jagger, and yet at the same time, there is no question that Pons was in no way doing this purposefully. Yet the reality is that even though this similarity exists, it almost reinforces the fact that such a singing tone is as perfect as one can ask for within the rock and roll style, and when Pons gets a bit gritty with his singing, it is nothing short of pop-rock bliss. But perhaps the most unexpected and yet undeniable aspect of this entire song is that within the way that Pons sings, especially what he is singing, one can argue that "Too Many People" is one of, if not the first more modern incarnation of what would become the punk rock sound over the next few years. At its core, "Too Many People" is a song of frustrated angst and defiance, and the direct nature with which Pons sings was certainly a rarity during that time period. From lines like, "...too many things that I got to do, too many bags that I got to run through..." to the wonderfully defiant, "...wear a suit and tie, when I'd rather sit and die...," it is impossible to deny the element of punk rock present in this song, and the attitude that runs throughout the vocals serve as the ideal finishing touch to a superb recording.

There is a power and presence in every element of "Too Many People" that is far beyond what any other band of the era was doing, and it is in this song that one can see how the sounds of mid-1960's rock and roll developed into the hard rock, heavy metal, and punk rock that would dominate the next decade. Yet even with being such obvious influences on this reality, as well as being so far ahead of their time musically, The Leaves are one of the many bands from that time period which fail to receive the accolades which they so clearly deserve. It is the way that the band takes the more standard sound of rock and roll that was becoming a hit across the globe, and simply add more attitude and authenticity to it which makes their songs so magnificent, and it is almost impossible to comprehend that not only did this song not catch on across the country, but few bands from their hometown followed in their footsteps. Oddly enough, it would be one of the bands' later singles, "Hey Joe," which would give them greater exposure, and yet one can easily make the case that "Too Many People" is a far more accurate representation of the bands' overall sound and spirit. It is the way that the harmonica and guitars seem to have an edge that cannot be found in any other band of the era, along with the flawless vocal performance, that vault The Leaves' 1965 single, "Too Many People" to stand as one of the most important and impressive recordings in all of music history.

Daily Guru: Something Old, Something New #38

2011-12-29T08:09:00.000-05:00

Thursday means another dose of “Something Old, Something New” with yours truly. Share and enjoy!

December 29: Big Black, "Kerosene"

2011-12-29T01:08:00.086-05:00

Artist: Big Black
Song: "Kerosene"
Album: Atomizer
Year: 1986

CLICK HERE TO LISTEN (will open in new tab)

While many bands and artists may think and attempt to give off the idea that they are controversial or that they don't care to adhere to any societal norms or boundaries, the reality is that almost every musician in history does conform to a certain set of "reasonable standards" in terms of musical arrangements as well as lyrical themes. Granted, there are a few artists that have taken small steps away from these "acceptable" subjects, but for the most part, in terms of lyrics, the overall world of music is rather tame. Then of course, there was the band Big Black, who for a brief period of time seemed to make it their mission to completely destroy any ideas of such boundaries, making music and writing lyrics that were as confrontational as anything else in all of music history. Whether they were singing about mutilation or immolation or even more risqué subjects, the defiance in their lyrics was only matched by the aggressive, yet sonically competent way that they deployed their brand of noisy hardcore rock and roll. Furthermore, it is these musical contributions that would form the basis for what would become the "industrial" sound, and while many of those bands were seen as "daring" or bold in their music or lyrics, they are almost laughably tame when compared to Big Black. This can be easily understood when one hears what may very well be the creative apex of Big Black, their 1986 song, "Kerosene."

The moment that "Kerosene" begins, the rather in-your-face and aggressive nature of Big Black is completely evident, as the somewhat ear-piercing noise that opens the song surely turned away most listeners before the song even entered into its main section. It is in this aspect where comparisons to The Fall have been drawn over the years, and yet there is a form and energy that places Big Black far apart from such similarities. The song is largely driven by the bass of Dave Riley, and he brings a somewhat looming, dirty and aggressive sound the pace and mood with which is plays is nothing short of unsettling. It is the way that his playing works with the programmed drums where one can find the base for the entire "industrial" sound, and yet it is the way that the drums are almost unrelenting that gives "Kerosene" an even more intimidating presence. Taking this darker aspect of the song, it is the contrast created by the guitar of Santiago Durango which gives the track an unexpected level of depth, as well as a more powerful and angry presence. Showing an amazing understanding of how to create mood on a track, Durango is just as great when he is letting a single note sustain in the background as he is when his distorted riffs and chords leap to the front of the song. It is these shifts in sonic placement, as well as the overall tone of aggression and frustration that are the key to the sound of Big Black, and they were rarely more perfect than one finds on "Kerosene."

Along with the uniquely hostile musical arrangement, the vocals from Steve Albini serve as a similar "starting point" for the generation of musicians that followed, as well as providing the ideal completeness to this song. It is the clear, methodical rhythm with which he speaks throughout the song that is in many ways more unnerving than the music itself, and it is this reality which vaults Big Black far beyond any other band. The tension and intensity that builds with every line is second to none, and even when the music gets louder, it is the fact that Albini's voice stays largely the same which proves once again that shouting rarely equals more impact. In many ways, it is the way that Albini seems to be delivering a "restrained rant" that makes "Kerosene" so uniquely intense, and once one concentrates on the words he speaks, the song becomes nothing short of disturbing. Though it largely comes off as a "sounding off" against the rather mundane life of "suburbia," it is during the bridge and chorus sections where the band shows that they have no issue going far into territory where other bands would never dare. The fact that Albini states the idea of self-immolation as "something to do" and yet does not come off as sarcastic or melodramatic in the least is perhaps the most telling moment in the bands' catalog, as his rather straightforward reference to this act manages to perfectly ride the line between agitating and captivating.

Strangely enough, though it is certainly their most musically complete, one can easily argue that "Kerosene" is one of the "less confrontational" songs within the catalog of Big Black. While many may find this hard to believe given the nature of the music and words, this is a band that had no issue in bluntly discussing topics ranging from murder to racism to a wide range of "taboo" topics, and their ease with such subjects quickly put all other bands into stark perspective. Furthermore, when one hears the music of Big Black, it is clear that they are not making these songs for "shock value" as so many later artists did, and it is this almost matter-of-fact approach that makes their music all the more disturbing. Yet at the end of the day, the reality remains that the trio of musicians that comprise the band are exceptionally talented, and it is their ability to balance the overly-aggressive nature of their music with unquestionable musical expertise that make them a band that knows no peers. From the ringing guitars to the dark groove of the bass, Big Black remain one of the few bands in history that refuse to be ignored, and one can easily make the case that without their music, a majority of the heavy metal, hard rock and "industrial" music that appeared at the end of the 1980's would have never occurred. Though their catalog is filled with some of the most powerful and unapologetic music ever recorded, one can find Big Black at their best in every aspect throughout their 1986 song, "Kerosene."

December 28: Skip James, "Hard Time Killin' Floor Blues"

2011-12-28T01:35:00.075-05:00

Artist: Skip James
Song: "Hard Time Killin' Floor Blues"
Album: Various
Year: 1931

CLICK HERE TO LISTEN (will open in new tab)

While many may think that at its core, it is the most simple and straightforward of musical styles, the reality is that there is as much diversity within blues musicians as there is in any other genre. Even in the earliest days of recorded blues music, there were different schools of playing, as well as a massive range in overall approaches taken by the musicians. Though most are familiar with the "Delta" blues style, and the "boogie" style that would develop later, it is the forms of blues music that preceded both of these where the true seeds of almost every current form of music were planted. Truth be told, due to the time during which they recorded, as well as the overall impact of some of the later artists, many of these early blues performers have been lost in time, and yet once one hears his music, it is clear that there are few players more important than Skip James. Recording a majority of his best known songs before the likes of Robert Johnson and other blues luminaries, James went almost completely unnoticed until the 1960's, and yet within his recordings from the 1930's, one can find the basis for many of the best known blues songs in history. Understandably, these recordings are as basic as one can find in terms of orchestration and overall sound, and yet the emotion and power with which he plays is second to none, and there are few moments in music history that can top Skip James' 1931 recording, "Hard Time Killin' Floor Blues."

For the most part, "Hard Time Killin' Floor Blues" is all about the amazing level of mood that Skip James brings to every corner of the song. As was the case with almost all of the early blues players, the song features nothing but James and his guitar, and yet this is more than enough to completely captivate the listener. There is a slow groove within the progression that he plays, and it is the almost "bumping" rhythm that sits subtly in the music which separates his sound from that of any of his peers. This completely unique rhythm gives the impression of an older car or perhaps a horse-drawn cart moving down an unstable road, and helps "Hard Time Killin' Floor Blues" to take on an even more vivid imagery and personality. There is also a deep intimacy within the guitar found throughout "Hard Time Killin' Floor Blues," and the sound is so delicate that it almost demands the listener to remain completely silent while experiencing this masterful blues execution. At many points, the guitar also seems to take on a second vocal part, working in amazing contrast with James' voice. It is during these moments where the line blurs on whether his voice is leading the guitar or vice versa, and this is a testament to the complete commitment and overall authenticity that comes through in the song. This interplay and somewhat "still" sound is what would be copied by a wide range of later bluesmen, and yet none deployed it with the same impact as one finds here.

It is the way that the voice of Skip James travels along "Hard Time Killin' Floor Blues" that makes his voice impossible to mistake, as in both tone and pitch, he is completely unique. The fact that James shows no problem in working all across the vocal scale instantly separates him from a large potion of his contemporaries, and the way that he uses different pitches to emphasize certain parts helps "Hard Time Killin' Floor Blues" to become far more than a "typical" early blues recording. This is complimented by the fact that James also gives the song a great deal of depth by putting vocal inflections on certain syllables, and it is also this element which adds an additional rhythm to the song. At the same time, throughout "Hard Time Killin' Floor Blues," Skip James keeps the overall mood very quiet and reserved, and this pulls the listener in even further, as if witnessing a solemn and spiritual moment. It is the reality that this song does not follow a "standard" blues progression in terms of lyrics which places it apart from later artists, and yet the sentiment and soul of the song are as deep, if not disturbing as any other recording. Though the last lines do offer some sort of "looking up" type of idea, the reality is that almost every line of the song emphasizes just how hard times were during the early 1930's, and the overall sense of hopelessness that hung over the nation. It is the way that James brings out the darkest and most somber aspects of this point in history that in many ways gives it far more impact than any photographic or written historical record.

Though there is no question that Skip James is not as well known as some of the artists that followed him, when one looks at the overall historical progression, there can be little argument that his performances did not impact many of these same musicians. It is the distinctive style with which he presented his songs that in many ways makes him a "school" of blues onto himself, and yet this would not be fully realized until his "rediscovery" in the early 1960's. James was one of a handful of "found" bluesmen that played at the now-legendary 1964 Newport Folk Festival, and in the years that followed, he would find his songs being covered by some of the biggest artists on the planet. Though many are unaware, the song "I'm So Glad" that was recorded by both Cream and Deep Purple among others, is in fact written and originally recorded by James almost four decades before these covers. This would lead to an even wider recognition of the brilliant work of Skip James, and even in more recent years, one can find James' songs being featured and covered in some of the biggest grossing films around the world. Furthermore, one can make the case that "Hard Time Killin' Floor Blues" has given its title and sentiment to similarly named songs, and the unique way that James tuned his guitar has created a legacy unlike any other bluesman. Whether it is due to the purity in his sound or the overall mood that he conveys, there is simply no other song in history quite like Skip James' magnificent 1931 song, "Hard Time Killin' Floor Blues."

Daily Guru: Something Old, Something New #37

2011-12-27T08:11:00.001-05:00

It’s Tuesday, and that means it’s time for another dose of “Something Old, Something New” with The Daily Guru. Share and enjoy.

December 27: Toad The Wet Sprocket, "Walk On The Ocean"

2011-12-27T03:18:00.064-05:00

Artist: Toad The Wet Sprocket
Song: "Walk On The Ocean"
Album: Fear
Year: 1991

CLICK HERE TO LISTEN (will open in new tab)

Though one can make a strong case for the idea that the first few years of the 1990's saw a massive downturn in the level of musicianship all across music, there were a number of bands that stand in clear contrast to this trend. While the music groups were writing seemed to take a gritter, more direct approach, and the rise of "gangsta rap" certainly skews perception in terms of "content" within lyrics, the number of brilliantly talented bands was easily equal to that of any other point in history. Yet in many cases, the groups that were truly pushing musical boundaries and setting the form for the next few years in music seemed to go relatively unnoticed, but their amazing melodies still ring strong to this day. It was the fact that bands were finding new ways to blend together the slightly more aggressive mainstream sound with different aspects of the past decades of music that made this era so exciting, and few groups showed more sheer talent and creativity than Toad The Wet Sprocket. Though they are often wrongly associated with the "Seattle Sound," Toad The Wet Sprocket were responsible for one of the most amazingly catching musical approaches, as the way that they fused together an often-acoustic, folk base with a clear love for hard rock was unlike any other band at the time. Clearly pulling off this sound better than almost any other group in history, Toad The Wet Sprocket rarely sounded better than on their unforgettable 1991 single, "Walk On The Ocean."

As "Walk On The Ocean" begins, the mellow tones of the bands' ability are immediately apparent, and yet at the same time, it is obvious that the group has a sense of melody and musical drama far beyond that of any of their peers. Yet while there is no question that the overall pace of the song is slower than what one would consider "rock," it is the mood of the song that places it into such a category. It is the way that the acoustic guitars of Glen Phillips and Todd Nichols blend with bassist Dean Dinning that is so wonderfully unique, and the trio extract an astounding level of tension from this combination. The bass is mixed far more to the front than on most songs, and it enables "Walk On The Ocean" to take on a lulling bounce that must be experienced firsthand to be properly appreciated. However, it is when the band enters the bridge section of the song that their true talents shine brightest, as not only is the volume raised, but the way that additional instrumentation is added to the mix is nothing short of musical perfection. Whether it is the suddenly present mandolin and accordion, or the other strings that simultaneously enter the track, "Walk On The Ocean" begins to take on an entirely new life. The percussion from Randy Guss is where the cohesion of the song resides, and the overall level of almost somber mood that the band creates is unlike anything else in music history.

While his instrumental contributions to "Walk On The Ocean" cannot be overlooked, the reality is that the voice of Glen Phillips is not only the most captivating aspect of the song, but one of the finest of his entire generation. In every note that he sings, there is a strength and presence that is far beyond that of almost all of his peers, and throughout "Walk On The Ocean," Phillips shows a massive vocal range. Yet much like the music, it is the level of emotion that he puts behind every word which makes the song so unforgettable, and the fact that he sounds so sincere and honest on each note is what enables the song to still have so much impact to this day. However, it is the fact that the lyrics to "Walk On The Ocean" seem to present a compliment to the music in terms of fullness and complexity that truly sets the song so far beyond almost any other single from that time period. There is no question that the words stand as some of the finest in history, as Phillips seems to have spun a myriad of interpretations into these brilliant lyrics. Though there is no question that the song represents a loss, the fact that this "loss" can be seen as so many different things is what enables each listener to make the song their "own," and one of the many reasons it has such a wide appeal. This ability to be heard in such a wide range of meanings is rarely more accurate than when Phillips sings, "...and somebody told me that this is the place...where everything's better, everything's safe...," and the lyrics remain some of the most memorable from the entire decade.

Oddly enough, the entire Fear record represents a rather stark departure from the sound that Toad The Wet Sprocket had been making to that point. This album was far more refined and overall musically accomplished, and they seem to have made a conscious effort to tone down the more "garage band" style of playing that can be found on their earlier records. Though many would see this as a "bad" idea, the reality remains that this change allowed their undeniable musical talents to take a far more prominent place, and clearly this also led to a stronger concentration on the melodies and harmonies throughout their songs. Furthermore, the fact that the band were able to take this slightly more mellow approach, yet sacrifice none of their unparalleled talents in terms of creating hooks and "pop" sounds is a testament to just what an exceptionally talented group they were, and all of these realities come together on every moment of "Walk On The Ocean." Whether it is the soaring musical arrangements and the way that all of the instruments are able to work together in amazing harmony, or it is the unforgettable, if not hypnotic vocals from Phillips, rarely has this overall level of musical perfection been heard, and during the early 1990's, it was more absent than ever. Yet even after more than two decades, the song still commands as much respect and attention as ever, and it is

December 26: Daily Guru, "Gurucast #104"

2011-12-26T00:01:00.001-05:00

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 commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song or album):
1. Les Claypool & The Holy Mackerel, "Hendershot" Highball With The Devil
2. Gildardo Montoya Y Conjunto Los Rumberos, "Fabiola" The Original Sound Of Cumbia
3. Fugazi, "Merchandise" Repeater
4. Blind Melon, "Holyman" Blind Melon
5. Shock G, "We're All Killaz" Fear Of A Mixed Planet
6. Odonis Odonis, "White Flag Riot" Hollandaze
7. Cincinnati Pops Orchestra, "El Amor Brujo (Fire Dance)"
8. R.E.M., "Orange Crush" Green
9. Santana, "Jin-Go-Lo-Ba" Santana
10. John Coltrane, "Naima" The Complete Village Vanguard Sessions
11. Led Zeppelin, "Traveling Riverside Blues" BBC Sessions
12. The Buzzcocks, "Everybody's Happy Nowadays" Singles Going Steady
13. Gogol Bordello, "Trans-Continental Hustle" Trans-Continental Hustle
14. The Clash, "I Fought The Law" Live At Shea Stadium

December 25: Earth, Wind And Fire, "Shining Star"

2011-12-25T02:36:00.050-05:00

Artist: Earth, Wind And Fire
Song: "Shining Star"
Album: That's The Way Of The World
Year: 1975

CLICK HERE TO LISTEN (will open in new tab)

Though it makes very little sense, the reality remains that when compared to other styles of music, the genre of funk rarely receives the credit it deserves on many levels. Whether it is due to the unique arrangements and theories behind the style, or the fact that it influenced nearly every type of music form disco to hip-hop to heavy metal, those who deployed the funk sound the best stand as some of the most important figures in all of music history. While there is no question that the finest songs from the "best" years of funk remain some of the most memorable in history, the names of the bands that created these amazing recordings seem to be overlooked more than any other style of music. Standing high atop the list in terms of talent, impact, and overall importance within music, there are few groups that out-perform the mighty Earth, Wind And Fire, and their blending of r&b, funk, blues, and dance music is unlike anything else ever recorded. It is the fact that within this massive musical mixture, the band is able to create a pop appeal that is completely unique which makes their songs so fantastic, and they were rarely in better form than on their 1975 album, That's The Way Of The World. Filled with a number of the groups' finest recordings, there are few songs in history that are as unforgettable as Earth, Wind And Fire's magnificent 1975 song, "Shining Star."

As "Shining Star" begins, one can make the case that the song sounds like anything but the "traditional" notion of funk, as the almost country-style guitar riff seems to give a nod to the earliest days of the rock and roll sound. It is the way that this progression smashes into a massive horn sound which sets the song into motion, and the fact that this works so well is a testament to the exceptional level of talent found within Earth, Wind And Fire. Using the horns as a fantastic point of punctuation, "Shining Star" quickly becomes one of the finest and most upbeat grooves ever recorded, and the way that the brass plays a counterpoint to the guitar from Al McKay and Johnny Graham would become the blueprint for countless bands that followed. It is the way that the two guitars intertwine with one another, almost giving a ska-style tone at times, which separates the Earth, Wind And Fire "brand" of funk apart from their peers. There is also an unmistakable tone to the bass of Verdine White, and as is the reality with most funk songs, it is in his performance where much of the groove resides. Yet it is the fact that "Shining Star" has so much going on musically that makes it such a special moment in music history, and after hearing this song, the way that the funk style would give way to the sounds of disco becomes completely clear.

Working perfectly with the overall mood and unspoken sentiments of the music, the vocals throughout "Shining Star" are nothing short of superb. The lead vocals from Verdine and Maurice White capture the energy of the song, as they get a bit gritty at times, and yet the amount of positive feeling that flows from their singing cannot be ignored, and manages to completely captivate the listener ever after hearing the song countless times. Beyond their fantastic lead work, when the entire group joins in for the harmonies on the bridge and chorus sections, "Shining Star" is somehow vaulted to an even higher level, and yet it is the fact that throughout all of the singing, the overall feeling remains so smooth, which marks the sound of Earth, Wind And Fire as a completely unique approach to the funk style. However, the song separates itself from much of the rest of the bands' catalog in the way that the lyrics are presented, as well as the content therein. Though the subject of striving to achieve your dreams has been approached countless times over the long history of recorded music, it is the unwavering sense of power and self-pride that comes forth on "Shining Star" which places it beyond most other songs on this theme. In many ways, the song stands as the most irresistible musical affirmation of all time, and one cannot help but sing along with the extraordinary vocal performances found throughout the song.

Along with these unrivaled musical and vocal performances, "Shining Star" also over-achieved in terms of both sales and international impact, becoming one of the biggest selling singles of 1975. In fact, the song did so well in the commercial sense, along with being an exceptional musical accomplishment, that it was given the Grammy Award for "Best R&B Performance By A Duo Or Group With Vocals" for that year. Yet even without such accolades, one can easily argue that the song would have become a part of many aspects of culture, simply due to the tone and talent with which every element of the song is deployed. As the decades have passed, "Shining Star" has been used in a number of films and television shows, along with being covered by everyone from heavy metal acts to classical jazz musicians. This latter fact shows the wide-ranging impact that the song had in terms of musical creation, and this is further supported by just how much of both disco and hip-hop one can hear within the music. In many ways, one can see "Shining Star" as Earth, Wind And Fire taking the standard form of funk music to that point, and showing just how it could exist within the current and future world of music. To this day, there are few songs that can compare to the amazing musical arrangement or unparalleled level of energy, and it is much the reason that Earth, Wind And Fire's 1975 single, "Shining Star" remains in a class all its own.

December 24: Ritchie Valens, "La Bamba"

2011-12-24T02:03:00.069-05:00

Artist: Ritchie Valens
Song: "La Bamba"
Album: Donna (single)
Year: 1958

CLICK HERE TO LISTEN (will open in new tab)

For a handful of songs that have been recorded over the course of music history, there is a specials status that defies any attempt at description. These elite songs have become so timeless and universal that they transcend the boundaries of music itself and are cultural institutions onto themselves. Such songs number in the single digits, and they have appeared scattered across the past century, coming from all genres and backgrounds. Strangely enough, a number of such songs were recorded by artists whose careers were ended far too soon, and this is certainly the case when one looks at the singles from Ritchie Valens. Without question the first Hispanic star of the "rock era," Valens died at age seventeen in the infamous plane crash that also took the lives of Buddy Holly and J.P. "The Big Bopper" Richardson. Due to this fact, as well as the reality that Valens' songs had just begun to gain a wider audience, it is impossible to speculate on "what could have been" had his career not ended; and yet the fact remains that nearly every one of the few songs he did record have easily withstood the test of time. It is the unique fusion of his own cultural roots with the spirit and drive of the early rock and roll sounds that make his music so exciting, and there are few songs in history that can boast the recognition and sheer joy that can be experienced on Ritchie Valens' 1958 classic interpretation of "La Bamba."

Truth be told, there are perhaps only one or two guitar riffs from any point in history that are more instantly recognizable than that which opens "La Bamba," and yet it is the fact that even after hearing it countless times, this progression can still inject a massive amount of energy into the listener. It is the almost overwhelming vitality that the guitar projects which quickly sets "La Bamba" far beyond almost any other recording, and there is a youthful sense of fun that is completely unique. Furthermore, there is a tone within Ritchie Valens' playing that sounds completely unlike any of his contemporaries, and this is where the idea of the "Latin guitar" sound was first heard by the masses. In many ways, it is also the rather sporadic presence of the bass guitar which emphasizes the overall mood on "La Bamba," as after giving the lead-in to the guitar, it only works as a punctuating point to the rest of the song. This in itself goes against the traditional role of the instrument within a rock and roll arrangement, and it is in this element where one can see the first appearances of the cultural influences from Valens. The way that the percussion makes "La Bamba" bounce and swing is easily the most entrancing aspect of the song, and it is the manner with which all of these sounds mix together so perfectly that make this a musical experience unlike any other.

Along with this absolutely unforgettable musical orchestration, the vocals from Ritchie Valens are impossible to mistake for any other singer. Much like the music over which he is singing, it is the spirit with which he sings that is so captivating, if not overwhelming, and when it comes to a raw and honest vocal performance, few singers can hold their own against this recording. From the moment e begins singing, Valens holds nothing back, and the exuberance with which he is performing enables "La Bamba" to quickly overcome any issues that might arise from those who do not speak Spanish. The fact that the mood of the song is able to overpower the lyrical content proves just how unique a recording lives within "La Bamba," and yet this is also due to the fact that Valens possessed what is without question one of the most naturally powerful and emotive voices of all time. As he easily works a large portion of the vocal scale, it is the distance from the microphone that one can detect which unintentionally gives "La Bamba" a more personal feel, and one can easily picture Valens recording this song amidst a massive gathering of people in celebration. In fact, this idea is exactly what the song is all about, as while it has been interpreted in a number of different musical ways over the decades, at its core, "La Bamba" is about dancing and a good time, and this is exactly what one gets from Ritchie Valens' recording.

In the decades that followed the release of "La Bamba," it is almost impossible to note all of the covers that have emerged, as artists from almost every genre have attempted to make the song their own. From the award-winning recording by Los Lobos to Bobby Darin to a number of punk bands, "La Bamba" as crossed over into every conceivable musical culture, further cementing its place as one of the most uniquely powerful and important songs in history. Yet strangely enough, "La Bamba" was not even released with the intent of it becoming as big a hit as it has over the years. It was initially placed as the b-side to another Valens' hit, "Donna," and due to this, one can argue that this single stands as one of, if not the greatest of all time. However, it did not take long for "La Bamba" to outpace the a-side of the single, and it managed to find its way to the top of the charts in nearly a dozen countries, becoming the first non-English vocal performance to ever reach such success in the United States. Even in modern times, the song still occupies a very unique place within culture, and it can be found in a wide array of films, television shows, commercials, and being used to energize crowds at sporting events across the globe. Powered by an amazingly infectious guitar riff and one of the most unforgettable vocal performances in history, there is simply no overstating the impact and importance of Ritchie Valens' legendary 1958 rendition of "La Bamba."

December 23: Glen Campbell, "Wichita Lineman"

2011-12-23T02:59:00.072-05:00

Artist: Glen Campbell
Song: "Wichita Lineman"
Album: Wichita Lineman
Year: 1968

CLICK HERE TO LISTEN (will open in new tab)

Though it is a completely inaccurate statement, many of today's music critics attempt to convince "the masses" that the idea of a "crossover" artist is a recent trend within the world of music. That is to say, perhaps due to sheer lack of knowledge, many people are led to believe that in previous decades, performers found a single, strict genre identification, and they stuck with this throughout their career. When one considers the world of country music, this idea is often given even more credit, and yet the reality is that just like any other style of music, country has had a long history of artists working within other genres. In fact, one of the most highly revered and respected names in the world of country music can be seen as having far more "pop" tendencies than a majority of his peers, and yet there are few performers from the style as important as the catalog of Glen Campbell. For more than half a century, Campbell has been making one of the most distinctive brands of country-western music one can find, and it is the smooth soulful nature of many of his songs which have turned them into unforgettable classics. Due to both his longevity within the world of music, as well as the fact that he has such exceptional talents, it is difficult to single out just one of his songs, and yet there are few recordings in history that are as truly perfect as what one can experience on Glen Campbell's 1968 classic, "Wichita Lineman."

As the opening string arrangement gives way to the musical structure that dominates a majority of the song, it is quickly clear that "Wichita Lineman" does not abide by the rules of the "normal" sound of country music. Though there is certainly a certain feel to the song that suggests this style of music, one can easily make the case that the song is far more pop-oriented than the sounds that were coming from the world of country music at the time. In many ways, "Wichita Lineman" represents the pinnacle of the balance between these two styles, and to this day, there has never been another recording that comes remotely close in terms of injecting a "mass appeal" tone within the confines of the country sound. It is the way that the guitars from Al Casey and James Burton seem to almost "knock" back and forth that keeps "Wichita Lineman" firmly rooted within the world of country, and yet it is the more melodic, almost strangely smooth tone with which they play that simultaneously make it as "un-country" as one can find anywhere. The light drumming from Jim Gordon helps to emphasize the almost delicate nature of the music, and it is this fragile sense which pushes the song further into a category all its own. There is also an amazing amount of depth that comes from the strings and keyboards found throughout, and the overall sonic presence on "Wichita Lineman" simply defies description.

Working perfectly alongside this superb musical arrangement, the vocals from Glen Campbell manage to similarly straddle the line between genres. While there is certainly the "country twang" present within his voice, it is far more subtle than one would expect, and this in itself certainly played a large part in "Wichita Lineman" finding a wider audience. It is also the fact that Campbell can so effortlessly work all across the vocal scale that makes the song so impressive, and the emotion with which he delivers every word must be experienced firsthand to be properly appreciated. There is no question that "Wichita Lineman" represents Campbell's finest vocal moment, and countless later performers attempted (and failed) to mimic his style. Yet it is the fact that Campbell was singing such powerful words which vaulted his performance to an even higher place, and few can argue that "Wichita Lineman" is not the most moving piece ever penned by Jimmy Webb. Though he has written many other classics, "Wichita Lineman" holds a very special place, as the heartbreak and pain one can feel throughout the song feels somehow different, and the imagery of the weather and solitude of the protagonist remains one of the most vivid moments in all of music history. One is quickly taken to the top of the telephone pole, and one can interpret the lyrics on in few different ways, yet none of them lack a punch that cannot be found anywhere else in recorded music.

Almost instantly upon its release, Glen Campbell's version of "Wichita Lineman" shot to the top of the charts in both the country and "adult contemporary," as well as cracking the top five on the overall chart rankings. The fact that the same song occupied both of these places proved the fact that there was some element within "Wichita Lineman" that had a boundless appeal and intrigue. As the decades passed, everyone from Johnny Cash to James Taylor to R.E.M. have recorded their own versions of "Wichita Lineman," and while many have been good, none have been able to capture the same overall tone found on Campbell's recording. It is the almost overwhelming level of emptiness that one can feel, and the way that the strange sense of hope runs throughout the song, and many have referred to "Wichita Lineman" as the first "existential" country song due to the somewhat abstract way that one can interpret the lyrics. Regardless of how one hears these words, the fact of the matter remains that the overall construction in every area on "Wichita Lineman" is absolutely flawless, and it can still easily hold its own against music from any current genre. There is a purity and innocence that can be felt within the amazing vocals, and the way that this is complimented by the soft, almost unassuming music is what enables Glen Campbell's 1968 recording of "Wichita Lineman" to stand today as one of the finest pop songs ever captured on tape.

Daily Guru: Something Old, Something New #36

2011-12-22T08:13:00.000-05:00

Thursday means another dose of “Something Old, Something New” with yours truly. Share and enjoy!

December 22: The Teen Idles, "Teen Idles"

2011-12-22T01:17:00.095-05:00

Artist: The Teen Idles
Song: "Teen Idles"
Album: Minor Disturbance EP
Year: 1980

CLICK HERE TO LISTEN (will open in new tab)

Though it almost goes without saying, the length of a bands' career is rarely directly proportional to the amount of impact that they have in and out of the world of music. While one can argue that there are some groups who have been able to constantly reinvent themselves and push music forward due to being together so long, there are countless other groups that can boast just as much importance, yet a career that is counted in months as opposed to years. This idea is especially true within the various off-shoots of the punk rock sound that occurred throughout the final years of the 1970's, as the approach was being mixed with a number of other influences. Yet there is one band without whom an entire movement may have never come to be, but they are somewhat overlooked due to the massive shadow of the later work of some of the members of that band. Though they were only "formally" together as a group for slightly over a year, in terms of musical approach and lifestyle stance, there are few groups that are as pivotal to the development of music as The Teen Idles. Delivering some of the most fierce and powerful music ever captured on tape, the band released their sole studio EP almost at the exact time as they ended the existence of the band. Though each of the eight songs on Minor Disturbance are absolute hardcore perfection, there are few recordings that can hit with the same power and urgency as one can experience in The Teen Idles' 1980 song, "Teen Idles."

If one were to argue that the key ethos to the punk sound is the concentration on being as direct as possible, wasting no notes or time, than "Teen Idles" is as ideal a punk song as one can find anywhere. Clocking in at under a minute, it is within the high-speed, in-your-face wall of sound that crashes into the listener where one can find the almost shouted frustration that defines the band. However, there is no question that their sound, though similar in length, is far more fierce and pointed than a majority of the punk bands before them, as well as their peers. This sound is led by the guitar assault of Geordie Grindle, and in terms of both speed and tone, it is in this moment that the blueprint was created for the entire hardcore movement. The way that his playing tightly intertwines with the bass from one Ian MacKaye creates an intimidating grind that refuses to be ignored. Rounded out by drummer Jeff Nelson, it is the way that the band is able to so quickly create a massive level of tension, pushing this level higher and higher as the song progresses. It is easy to imagine how this song would have set a crowd into a frenzy, and even more than thirty years after its release, there remain few, if any albums that can compare to the power found on "Teen Idles." The fact that the band were able to capture the energy of their live performances within the studio environment sets this record further apart from those of their peers, as one cannot help but quickly get caught up in the spirit of the song.

Along with the driving, intense musical arrangement, the vocals provided by Nathan Strejcek stand as some of the finest in the entire history of the punk and hardcore genres. Though a majority of singers from this style were still "shouting for the sake of shouting," it is quickly clear that there is a message and a purpose to the ferocious vocal performance that Strejeck delivers all across "Teen Idles." Yet at the same time, there is an "everyman" simplicity to his approach, and it is this single element that further defines the band and the "scene" which they were unintentionally creating around themselves. The fact that Strejeck's vocals never get near the realm of pretentious or him being "better" than the audience was in many ways a return to the real meaning of punk rock. Furthermore, it is the way that his vocal approach combined with the lyrics which enabled tracks like "Teen Idles" to become outright anthems for the disaffected youth of the day. It is within the words of "Teen Idles" where one can find some of the most simple, yet powerful words ever committed to tape, as Strejcek delivers a scathing rant on the way that society has prevented "the youth" from thinking for themselves or doing anything that was not part of societal norms. Whether he is taking on the dulling effects of television or one of the bands many cries against age-restrictive music venues, "Teen Idles" hits on every frustration the band members encountered in their everyday lives.

In fact, it is the latter of these ideas that would become one of the building blocks for the band that was formed in the wake of The Teen Idles, Minor Threat. When Strejeck shouts, "...went to the Bavou they said "no," you're not eighteen you can't see the show...," this was one of a long list of rants against the age restrictions found at an overwhelming majority of music venues at the time. It would be after the Teen Idles visited California that one of the most important moments in music history occurred. Though the band was scheduled to play at the legendary Mabuhay Gardens, they were almost not allowed due to the fact that they were not of legal drinking age. The band managed to reach an agreement with the club owners, and they were allowed to play after the management placed massive "X's" on each of their hands in black marker, so the bartenders would know not to serve them. Upon their return to Washington, DC, The Teen Idles found other clubs that were willing to make similar deals and allow youth into their venues, and the symbol would go on to be the marking of the "straight edge" movement. However, when one looks at the actual history of the symbol, it is far more accurate to say that it represents youth in general, and the "lifestyle choices" that many "straight edge" people choose have very little to do with the symbol itself. It would also be Minor Disturbance that would become the first release on Dischord Records, and to this day, the label remains the beacon for everything that is right and honest in creating great music. While there is not a single moment on the EP that is anything less than stunning, there may be no more important a song in the history of hardcore than The Teen Idles magnificent 1980 track, "Teen Idles."

Daily Guru: Year In Review 2011

2011-12-21T08:17:00.000-05:00

Today at The DailyGuru on YouTube, we look back at the year in music that was.

December 21: Ma Rainey, "See See Rider Blues"

2011-12-21T02:37:00.009-05:00

Artist: Ma Rainey
Song: "See See Rider Blues"
Album: Various
Year: 1924

CLICK HERE TO LISTEN (will open in new tab)

While most “greatest musicians of all time” lists are filled and top-heavy with performers from the genres of rock and jazz, the fact of the matter is that many of the most talented artists in history made their name well before these styles were even in existence. It was during the first three decades of the twentieth century where a majority of musical styles and approaches were forged, and few can argue with the power of the blues music and the way that it transformed culture during the late 1920’s and the early 1930’s. It was during this period where female performers also found themselves in high demand for the first time, and some of the biggest names in the history of blues-style singing emerged during this era. However, standing far beyond them all was the singer from whom nearly every other “woman of blues” borrowed their style: the legendary Ma Rainey. Though she was not the “first” female to record blues records, there is no question that it was her style and vocal prowess that made her the best by far, and on nearly every song she ever recorded, she more than earned her title of “Mother Of The Blues.” It is the amazing vocal range she displayed throughout her songs, as well as the deep emotions that she conveyed at every turn which set her so far beyond her peers and followers, and yet due to the era during which she was recording, it is somewhat difficult to find high-quality versions of her songs. However, there is not a bad recording in her catalog, and few songs have become more iconic than Ma Rainey’s 1924 rendition of the tradition number, “See See Rider Blues.”

As “See See Rider Blues” begins, the classic sound that defines the time period during which the song was recorded is immediately evident. Not only in the actual musical sounds, but the slightly muffled overall quality, as well as the light crackles give “See See Rider Blues” an authentic feel that cannot be denied. Yet the fact remains that the performances from the handful of musicians are fantastic, and there is no arguing that even at this early point in her career, Ma Rainey was able to easily command the presence of the finest musicians of the day. It is the almost meandering, muted trumpet that takes focus for a majority of the song, and it is the way that it plays almost a second vocal part throughout the song that makes it so intriguing. Yet at the same time, there is a jazzy feel to the trumpet progression, and this can be seen as one of the earliest examples of the blues sound sliding into what would become the jazz explosion of the following decade. Setting the song far apart from a majority of blues recordings, there are no drums to be heard at any point on “See See Rider Blues,” and in this case, a steady cadence is provided by the piano. Though it is mixed slightly to the back of the overall sound, as well as being slightly overpowered by the trumpet, the piano gives the track a slight sense of elegance, and it provides a superb contrast to the rest of the instrumentation.

Yet there is not a moment anywhere on “See See Rider Blues” where the focus moves far from the voice of Ma Rainey, and within seconds of her first notes, it is impossible to not be completely captivated by the power and emotion with which she sings. Not quite crooning and not quite lamenting, it is Ma Rainey’s performance here that in many ways defines “what” the blues sound was supposed to be, and her style would be copied by nearly every later artist. There is no question that throughout “See See Rider Blues,” Rainey has completely given herself to the music, letting it dictate the pitch and inflection within her voice. Working from chilling notes in the lower registers to a breathtaking move to higher pitches, it is the strength that one can hear in every note she sings which makes her so unique, and on many levels, this is the very essence of what it means to “be” a great singer. Along with her unparalleled singing ability, it is the way that Ma Rainey conveys the lyrics of the song that become so captivating, as she spins the tale of an unfaithful lover. Though in modern times, the story has been spun in countless different ways, it is the original, almost innocent words found here that still resonate with the most impact. One can see “See See Rider Blues” as the beginning of one of the most common themes within blues music, when Ma Rainey sings the lines, “…shoot my man, and catch a cannonball…if he won't have me, he won't have no gal at all…”

As the decades have passed, not only has the content of the lyrics to “See See Rider Blues” changed in a number of ways, but the songs’ title has also gone through a series of modifications. Other artists have performed the track under titles like “C.C. Rider” or “Easy Rider,” and yet the overall theme of the song has remained intact. Due to the early time during which it was recorded, as well as the timeless, universal themes found therein, “See See Rider Blues” stands as one of the most heavily covered songs of all time, with some of the most famous remakes coming from artists like The Who, Janis Joplin, Elvis Presley, The Grateful Dead and Jerry Lee Lewis among a massive list of other performers. However, in many ways, it is the simple, pure way that Ma Rainey brings the tale to life that manages to set her version above the rest, and after nearly a century in existence, the song has lost none of its impact. Perhaps due to the fact that the instrumentation is somewhat sparse and mixed behind her vocals, or more likely due to the reality that she simply has a voice that cannot be ignored, the pain, frustration, and eventual vengeance one can detect within Ma Rainey’s voice continues to be the standard in quality for vocalists across nearly every musical genre. Though she is responsible for the definitive version of a number of now-standard songs in the worlds of blues and jazz, there is no other recording in history that is as impressive or as outright important to the development of music as a whole than Ma Rainey’s 1924 interpretation of “See See Rider Blues.”

Daily Guru: Something Old, Something New #35"

2011-12-20T08:11:00.000-05:00

It’s Tuesday, and that means it’s time for another dose of “Something Old, Something New” with The Daily Guru. Share and enjoy.

December 20: The Sound, "Heartland"

2011-12-20T02:41:00.009-05:00

Artist: The Sound
Song: "Heartland"
Album: Jeopardy
Year: 1980

CLICK HERE TO LISTEN (will open in new tab)

Though one can easily cite a large number of “musical injustices” and absolutely inexplicable happenstances all across the long history of music, acknowledging that they exist rarely makes the situation any easier to accept. In many of these situations, one can find an absent record label or an inexperienced or unprofessional producer that can be “blamed” for issues with an album or band not receiving the proper credit or exposure that they deserve; and yet it is when neither of these are the case that the problem in question becomes all the more frustrating. Though this exact situation is exceptionally rare, it is no less a musical tragedy, and there is perhaps no better an example than when one looks at the brilliant post-punk band, The Sound. It is when one hears the music of The Sound that the way in which the punk rock sound morphed into the darker “post punk” sound becomes clear, as it is this band that perfectly balanced both sounds within their music. There is a sense of urgency and sonic beauty that runs through every song by The Sound, and once one hears this band, it is almost impossible understand how they did not become one of the biggest bands on the planet. From the exceptional musicianship to the amazing moods to the soaring vocals, there has rarely been as superb a record as The Sound’s 1980 debut, Jeopardy, and there may be no song that better defines their unique brand of musical genius than the records’ second track, “Heartland.”

From the instant that “Heartland” begins, there is an energy and an urgency that is unlike anything else that was being recorded at the time. It is the way that the keyboards from Bi Marshall have a quick sting to them, sending the song spinning wildly that pulls the listener completely into the song. The vibrancy that comes through in his playing can be seen as a rather clear link to many U.K. punk bands like The Buzzcocks, and yet there is no question that his tone and approach are completely unique. Yet it is largely due to the way that the bass of Graham Bailey sits underneath the keyboards that gives “Heartland” much of its personality, as its rather dark, almost brooding bounce that separates The Sound from nearly all of their peers. The almost subtle aggression that he lends to the track works perfectly with the fervent, almost nervous pace of drummer Michael Dudley, and it is the interplay between these two that remains one of the finest aspects of the song. However, throughout “Heartland,” there is little arguing that the main source of musical tension is coming from anything other than the fantastic guitar work of Adrian Borland. There is an unsettling, somewhat nervous feel to his playing, and yet it is also the speed and tone he brings to the song that becomes so captivating. It is also the way that the band is able to quickly shift into small bursts of tension-filled, yet quieter moments that show their exceptional talents, and “Heartland” is one of the few songs that once heard, cannot be forgotten.

Along with providing the spectacular guitar parts for the song, Adrian Borland also handles the vocals throughout “Heartland,” and one would be hard pressed to find a finer singer from this era of punk or post-punk music. There is a unique allure to the high-energy, yet clearly pained sound of his voice, and he displays a far wider vocal range than nearly any other similar singer. It is the strength and clarity within his singing that adds an ideal compliment to the overall musical landscape, and his performance here represents the pinnacle of making a vocal track fit seamlessly with the rest of the arrangement. Throughout “Heartland,” the level of emotion that Borland provides is rarely anything short of tremendous, and it is the way that he injects so much expression and pain, whilst never coming off as inauthentic, that vaults him so far beyond any of his contemporaries. However, it is also the beautifully poetic lyrics that Borland sings on “Heartland” that enable it to stand out from the rest of the songs on the album, and though simple and short, these are easily some of the finest lyrics of his generation. The words themselves can be interpreted in a few different ways, and yet in each of these meanings, there is an ample amount of almost ethereal emotion, and the way that this manages to fit in with the more aggressive musical arrangement can rarely be found in any other era or musical genre. It is also the fact that due to the energy within which Borland sings, one cannot help but sing along; and this in itself is the clearest proof of what a brilliant song lives within “Heartland.”

The fact of the matter remains, as absolutely phenomenal as every song found on Jeopardy is, The Sound stands as one of the most tragically unknown bands in the entire history of music. While contemporaries like Joy Division and Echo & The Bunnymen continue to enjoy wide exposure to this day, the reality is that The Sound were the group that represented the transition from the more “standard” notion of punk rock to the “post punk” sounds upon which such bands made their careers. That is not to say other groups were not deserving in their own right; but in many ways, The Sound should have been alongside them, if not slightly above these other bands. Yet there is really nobody to “blame” for The Sound not catching on with an international audience, as the records were produced as they should have been, and promotion was what one could expect from their label at the time. The fact of the matter is, The Sound represent the biggest mystery in music, as while they play absolutely brilliant music, they just “didn’t” explode across the planet as they should. It is this rather harsh reality that is perhaps the most frustrating, and yet it in no way takes anything away from the astounding songs that the band recorded throughout their career. From the soaring vocals and magnificent guitar work of Adrian Borland to the overall moods and sonic textures that are created by the band as a whole, there has simply never been another band quite like The Sound, and few songs from any era or genre can compare to their outstanding 1980 track, “Heartland.”

December 19: Daily Guru, "Gurucast #103"

2011-12-19T00:02:00.001-05:00

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 commentary from "The Guru" himself.

Tracklist:
1. Mississippi Fred McDowell, "Shake 'Em On Down" Live At The Mayfair Hotel
2. Sonic Youth, "Teen Age Riot" Daydream Nation
3. Blue Scholars, "The Inkwell" Blue Scholars
4. The Beach Boys, "Sloop John B" Pet Sounds
5. King Khan & The Shrines, "Torture" The Supreme Genius Of King Khan & The Shrines
6. MC Serch, "Don't Have To Be" Return Of The Product
7. Phish, "The Horse" Rift
8. Elvis Costello, "Radio, Radio" This Year's Model
9. Eric Dolphy, "Gazzelloni" Out To Lunch
10. The Streets, "Let's Push Things Forward" Original Pirate Material
11. Steve Poltz, "License Plate Eyes" Dreamhouse
12. Red Hot Chili Peppers, "Walkabout" One Hot Minute
13. The Clash, "1977 (Mickey Foote Demo)" DOA
14. Joe Strummer & The Mescalaros, "Silver And Gold" Streetcore

December 18: Method Man, "Bring The Pain"

2011-12-18T01:13:00.070-05:00

Artist: Method Man
Song: "Bring The Pain"
Album: Tical
Year: 1994

CLICK HERE TO LISTEN (will open in new tab)

There is no arguing against the idea that the bigger a band or group an artist may have been a part of, the more difficult it will be for them to establish themselves as a solo performer. Throughout the history of music, one can find countless examples of this idea, as in most cases, the buying public simply want more of the sound the artist in question made within the confines of their original group, and the solo material simply does not find the same success. This is further complicated when in both historical importance and literal size of the previous group is taken to exponential heights, and one can see how this impacted nearly every member of the iconic hip-hop group, Wu-Tang Clan. Following their breakthrough 1993 record, the hip-hop community waited anxiously to see what the next offering from the group might be, and strangely enough, it was a solo release from the one and only Method Man. While each member of Wu-Tang Clan had their own personality, few of the others could compare to the raw talent and smooth sound of Method Man's rhymes, and all throughout his 1994 solo debut, Tical, every side of his amazing talents are on full display. The album is filled with a diverse range in sounds and approaches, and yet there are few hip-hop songs that can hold their own against Method Man's superb 1994 single, "Bring The Pain."

While there is no question that "Bring The Pain" is a Method Man solo song, it is the fact that RZA handles the production which enables it to also fit perfectly in with the rest of the Wu-Tang catalog. Yet it is also the fact that there is only a single emcee on the track which allows for a greater appreciation of his production talents, and this is one of the finest pieces of his entire career. It is the way that from the onset of the song, "Bring The Pain" provides a fantastic, head-bobbing beat; and yet unlike a majority of hip-hop songs from the era, the way that the bass "knocks" is almost subtle. This smoother approach to the orchestration mirrors the vocal style of Method Man, and it is in this connection where one can see the depth of understanding that RZA had when working with each individual member of his group. However, it is also the choice in samples and loops that set "Bring The Pain" so far above other songs, and the way that RZA manipulates Jerry Butler's, "Mechanical Man" into the song gives it a presence that is completely unique. In many ways, RZA achieves the ultimate balance between the more hardcore style in the way that the song remains gritty, and yet at the same time there is the more laid back flow to the music that helps it to appeal to a much wider audience. It would be this combination of moods that would become the blueprint for countless later artists, and yet none ever achieved it to the level of perfection found here.

But while one cannot understate the fantastic musical arrangement on "Bring The Pain," it is the vocals and lyrics from Method Man that are the clear highlight of the song. There is a constant force and presence within Method Man's voice, but unlike nearly every other emcee who takes this approach, the words flow naturally and easily from him, and they never sound forced or inauthentic. It is also the way that this strangely smooth flow is made all the better by his slightly gritty voice, and one can point to his sound as the pinnacle of the "hardcore" hip-hop sound. Yet it is due to his more restrained approach that many do not place Method Man into such a category, and it is his ability to avoid being pigeon-holed that has given him access to a far wider audience. Simply put, one cannot help but be completely captivated by the voice and pace of Method Man's rhymes, and the way he performs on "Bring The Pain" may very well be his finest to date. Furthermore, it is the clarity in his verses that vault him further beyond his peers, and once one inspects these words, there is an almost shocking amount of depth in his rhymes. While they may seem playful at face value, one can interpret rather sharp social criticism within the song, as well as an amusing array of the more "standard" emcee boasting. But it is the way that Method Man mixes together his ideas all under his unmistakable voice that help "Bring The Pain" to become an absolutely unforgettable hip-hop recording.

In fact, one can easily make the case that "Bring The Pain" stands as one of the most famous songs in all of hip-hop history, and since its release it has been used all across the word of popular culture. Whether it was "borrowed" to title a now-infamous comedy special or it was being covered or sampled by other hip-hop artists or even heavy metal and "industrial" bands, the song has managed to touch ever conceivable part of the entertainment world. Furthermore, after almost twenty years since it was first released, "Bring The Pain" can still blow away almost any other song being made under the term "hip-hop," and it is due to the raw, honest nature of the vocals and the perfectly unique musical arrangement that have helped the song to such long-term success. All of this can be seen as the result of the unparalleled sense of confidence and cool that Method Man has exuded throughout his entire career. Even on the first record from Wu-Tang Clan, there is no arguing that his voice did not shine slightly brighter than the others; and it is the way that he is able to take some of the darkest ideas and images and spin them into something mysteriously appealing that has turned him into one of the most revered emcees in all of music history. While there is not a recording he has made that is anything less than superb, it is Method Man's monumental 1994 single, "Bring The Pain" that stands as his most powerful and impressive work, as well as one of the greatest hip-hop tracks of all time.

December 17: Tammy Wynette, "Stand By Your Man"

2011-12-17T01:20:00.087-05:00

Artist: Tammy Wynette
Song: "Stand By Your Man"
Album: Stand By Your Man
Year: 1968

CLICK HERE TO LISTEN (will open in new tab)

Regardless of what era a recording occurred, or from what genre the song might arise, the reality is that any song which found a way to crossover into another genre was almost guaranteed massive success. While it was certainly easier for styles like "big band" and jazz or hard rock and heavy metal to attract audiences from the other, it is the moments when you find punk and hip-hop or bluegrass and rock combining where some of the most unexpected music legends can be found. Though in some cases, such fusions are far too ahead of their time, it is when this crossover occurs almost unintentionally that the finest examples can be found, and in every generation, there are a number of clear examples. Among these seemingly impossible combinations, there are few that have proven to be more fruitful than when country singers are able to spin a bit of "pop" into their songs, and all across the past few decades, almost every time this has occurred, the song in question has become legendary. Truth be told, before she recorded her "big" hit, Tammy Wynette had already had a number of hit singles on the country music charts, and many saw her as one of the biggest names in that style of music. However, at the end of 1968, she would completely rewrite her own history, as well as that of popular culture in general, as there has never been another song quite like Tammy Wynettte's iconic 1968 recording, "Stand By Your Man."

As "Stand By Your Man" opens, the lone guitar is as somber as one can find anywhere, and there is no question that this is a country-styled song. Both in the style and tone of the guitar, that "twang" is rather evident, and yet it is within the emotion that the instrument conveys where the listener is almost instantly drawn into the song. It is the way that the bass guitar works softly in the background of the song, giving "Stand By Your Man" a unique bounce that pushes it even further into the country sound, and yet at the same time, it gives the track a rather distinctive overall flow. There is a separation between the two instruments that is rarely found elsewhere, and it gives the impression that there is a great deal of "open space" on the song; and this style of performance and mixing would become the blueprint for a massive number of later recordings. However, there is perhaps no more a typical "country sound" than what one can hear in the drumming; as the slow "knock" that can be heard is perfectly performed, and at times, it almost sounds more like a slow jazz progression than one from the country genre. Even when the overall spirit of "Stand By Your Man" steps up slightly during the chorus sections, the overall intimacy of the song is never altered in the least, and it is this ability to keep the tension and mood that sets the recording so far beyond almost anything else from the era from any genre.

However, there is no arguing that while the music has certainly become well known, it is the breathtaking vocal performance from Tammy Wynette that is the highlight of "Stand By Your Man." Though she had many recordings both before and after this song, there is no arguing that this remains her finest studio moment, as the true power in her voice cannot be denied. It is the fact that she can so easily work what seems to be every part of the vocal scale, and the power that she brings to every note is far beyond almost any other singer in history. It is the mixture of pain and perhaps confidence within her singing that is so captivating, and if the song were styled differently, there is no question that "Stand By Your Man" could easily be one of the greatest blues lyrics of all time. Whether she is almost crooning, perhaps lamenting during the verse sections, or letting her voice soar as high as one can imagine during the chorus, one cannot help but be completely caught up in the force of her singing, as well as her deep commitment to the lyrics. Yet the words that she sings have certainly caused a great deal of controversy over the years, as many feminist groups have decried the song, stating that it is far too passive. However, Wynette has rightfully defended that the "key" to the track is in the final parts when one can almost sense her rolling her eyes at her silly, misguided love with the line, "...after all, he's just a man..."

Setting this small amount of controversy aside, one can argue that "Stand By Your Man" is the most heavily covered country song in history, as one can find versions recorded across the decades by artists from almost every conceivable genre. Whether it was heavy metal rockers, Mötorhead or the new wave band Erasure, "Stand By Your Man" has found its way into all corners of the world of music, and one can also find parts of the song referenced from groups like The Clash and even a spoof on Sesame Street. Along with these covers in part and full, "Stand By Your Man" is easily one of the most oft-used songs within television and film, and one can find dozens of such occurrences over the past forty years. Taking all of this into account, there is simply no arguing against the massive amount of impact that "Stand By Your Man" has had across all forms of popular culture; and along with this, one can find a number of instances where the songs' title or lyrics have been cited in interviews and statements by some of the most famous personalities of that same time period. However, putting this all into perspective, it is a bit unsurprising that the song has enjoyed such long-lasting and widespread success, as the music is perfectly produced, and there is simply no other voice that rings as beautifully nor as powerfully as one can experience when Tammy Wynette sings her iconic 1968 song, "Stand By Your Man."

December 16: Duke Ellington, "Take The "A" Train"

2011-12-16T02:37:00.081-05:00

Artist: Duke Ellington
Song: "Take The "A" Train
Album: Various
Year: 1939

CLICK HERE TO LISTEN (will open in new tab)

While there have been many important figures throughout the history of recorded music, there are an exclusive three that can be seen as "the beginning" of the primary forms of modern music. Though the individuals in question began their careers well before the dawn of the full-length release, their impact cannot be denied, and their names remain the most highly revered across the entire spectrum of musical preferences. Among this elite trio, one can make a case for each being the "most" important, and yet the easiest argument of the three may be for that of the one and only Edward Kennedy Ellington; better known as "Duke" Ellington. For nearly fifty years, Ellington stood as one of the most prominent forces and figures in the world of music, and it was his approaches and compositions that fueled not only the early days of jazz, but "big band" music and a number of other styles. Due to both his talent, as well as his longevity, it can be easily stated that Ellington was the most important jazz musician in history, and due to this reality, his recorded catalog contains many of the most famous and well-known songs in all of music history. With this in mind, it is difficult to single out one track as his "best" or most representative, and yet there is no other song in history that holds the same respect and place as Duke Ellington's 1939 masterpiece, "Take The "A" Train."

Though many may not be familiar with the actual name of the song, the signature central musical theme that opens the composition is without question one of the most recognizable, and to this day it retains all of its joyous swing and impact. In the earliest recordings by Ellington and his band, a light "dance" on the piano serves as a brilliant lead-in to the rest of the band as they follow a somewhat strict formation through the song. It is the way that the trumpets punctuate the soft sway of the rest of the horn section that instantly captivates the listener, and there is a classic, yet still appealing tone that runs throughout the entire track. The interplay between the various horns shows off Ellington's perfect control and pacing of his group, and the solos that comprise the center of the piece range from superb sounds from muted trumpets to Ellington himself swinging the song on his piano. Within this "passing" of the lead between the musicians, one can hear some of the earliest "formal" moves towards a jazz sound, and yet there is no question that "Take The "A" Train" fits perfectly into the "big band" sound. Furthermore, it is the fact that the main riff on the song has such a gentle flow, yet retains a fantastic bounce which makes it so unforgettable, and it remains one of the few songs that has earned the label of "timeless."

Strangely enough, "Take The "A" Train" also falls into the category of songs that almost never were, as it was not intended to ever be recorded. Written by the legendary Billy Strayhorn in 1939, the notes were never played until one of the most important legal rulings in music history. In early 1940, ASCAP raised its royalty fees for performers, and a majority of artists could no longer afford to play their own compositions on radio. During this time period, and overwhelming majority of music was "brought" to the masses in this manner, and for many artists, this ended what could have been a very fruitful career. However, while Duke Ellington was under this ruling, Strayhorn was a part of their rival, BMI; and he was not being held back by such restraints. The duo began working on an entirely new group of songs for Ellington's band, and music lore has it that Duke's son, Mercer, actually pulled the sheet music for "Take The "A" Train" out of a garbage can in Strayhorn's office. Within a few months, studio versions of the song were made, the most famous coming on February 15, 1941, and most point to this version which clocks in at just under three minutes, as the definitive take on the song. Over the next few decades, more than one thousand "known" covers of the song would appear, and it is without question the most heavily covered song in all of music history.

Adding to the legend of the song, the title of "Take The "A" Train" is a clear reference to the subway line that Strayhorn was told to take when he was first asked to meet with Ellington in Harlem, New York City. This has led to the song being used in reference to the city across films, television shows, and other parts of popular culture, and it has become a part of common vernacular onto itself. Yet many people are unaware of the origins of the phrase, and once one hears this beautiful composition, it is quite obvious why the song has become such a timeless piece of music history. Oddly enough, a few years after the initial recordings of the song, there are two sets of lyrics that emerged around the same time. While some claim that the words by The Delta Rhythm Boys were the first to be placed over the music, there are others that argue that it was a Detroit teenager named Joya Sherrill that was responsible for them. Regardless, it was the latter that became more popular, and countless artists, most notably Ella Fitzgerald, have made the song their own in whole or part. Even within modern music, one can find references to the songs' existence or find "borrowed" chord progressions or themes, and this cements not only the legacy of Duke Ellington, but the absolutely unrivaled importance of his 1939 song, "Take The "A" Train."

Daily Guru: "Something Old, Something New #34"

2011-12-15T08:12:00.000-05:00

Thursday means another dose of “Something Old, Something New” with yours truly. Share and enjoy!

December 15: North Mississippi Allstars, "Shake 'Em On Down"

2011-12-15T01:53:00.000-05:00

Artist: North Mississippi Allstars
Song: "Shake 'Em On Down"
Album: Shake Hands With Shorty
Year: 2000

CLICK HERE TO LISTEN (will open in new tab)

Though many might argue that the true spirit of rock and roll has not been heard over the past few decades of music, the reality is that there are a number of bands recording that are clearly students of the earliest rock sounds. Finding many unique ways to blend the rockabilly and blues sounds into a modern sounding style, it is the bands that find the best balance which yield the finest results, and among the most alluring are the blues-punk-rock band, North Mississippi Allstars. As a trio, the band brings a sound that is far larger than groups twice their size, and yet it is the technical performance and sheer joy one can find within their music that makes the group so impressive. Deploying everything from standard folk-blues to some of the most original hard rock of the past few decades, one cannot help but get completely caught up in the sound and mood of North Mississippi Allstars, and one can argue that the band was at their finest all across their 2000 debut album, Shake Hands With Shorty. Filled with fantastic new approaches to songs by some of the most iconic blues singers in history as well as a number of equally impressive original compositions, the record was a refreshing breath within a music scene that was quickly becoming stale. Though there is not an off moment anywhere on the album, one can hear everything that makes North Mississippi Allstars so impressive within their 2000 cover of the classic song, "Shake 'Em On Down."

From the moment that "Shake 'Em On Down" begins, the almost celebratory mood that comes through on many of the songs by North Mississippi Allstars is completely evident, and it is led by the brilliant slide-guitar work of Luther Dickinson. While the slide-guitar has had its fair share of "greats" over the decades, it is the fact that Luther is able to retain such a distinctive sound throughout the drive. Whether he is bringing slightly distorted power chords or a fantastic solo, his playing is rarely anything short of spectacular, and the spirit underneath all his playing is one of the most impressive aspects of the entire song. It is this combination of the classic blues sound with a far more modern, almost punk-style approach that makes the band so distinctive, and it is the balance between these two sounds that shows just how talented a player lives within Luther Dickinson. Yet it is also the way that his playing interacts with the drumming of his brother Cody that defines the sound of the band. Due to the fact that it is only a trio, as well as the overall mix of the album, the drums have a far larger presence than most other bands, and this gives "Shake 'Em On Down" a fantastic stomp that one cannot resist. Rounding out the band is a dazzling bass performance from Chris Chew, and the funky groove that he injects throughout the song is where much of the energy of the track resides, completing what is nothing short of a phenomenal overall sound.

Feeding off of the amazing level of energy the band creates, one would be hard pressed to find a more appropriate term to describe the vocals of Luther Dickinson than "inspired." It is the spirit within his singing, as well as his clear natural vocal abilities that are almost instantly captivating, and one can argue that the most important element of "Shake 'Em On Down" is the interaction between Luther's singing and playing. Whether the vocals are driving his inspired guitar playing or vice-versa, it is the collective energy in these two parts of the song that completely captivate the listener. While the song structure itself is clearly able to fit within the realm of "classic" blues, it is again the way that he is able to place it into a more modern sound and context that makes the sound so impressive, and it is also this aspect which shows the clear link between the two styles. Again within the singing, one can hear a far more aggressive approach, and it is the balance that Luther strikes in this facet that further proves his exceptional level of musical talent. It is the fact that the song sounds so modern, and yet it remains one of the greatest "classic blues" songs ever written, and that this pairing manages to work so well that not only shows that The North Mississippi Allstars are far beyond most other bands, but also the fact that the blues clearly have a place within the current world of music.

Granted, the original version of "Shake 'Em On Down" which was written and recorded by the legendary Mississippi Fred McDowell cannot be touched in terms of impact or overall importance, and yet it is the fact that the band here completely makes the song a few composition that enables it to reach such heights. In many ways, it is this separation from the original that defines "how" a band should approach a cover song, as both the spirit and lyrics of the original recording remain intact, yet the musical arrangement and style are completely new. It is this spirit which one can argue is the most important aspect of any song, and even though this recording has a fast pace and far more upbeat mood, the blues-based feelings are still quite clear, and this is a testament to the exceptional talents of all three members of the band. There is a wonderfully raw and organic feel to the song that is rarely found in other bands of the time period, and it is this "rootsy" sound that one can see as part of the early return to the "lo fi" sound that occurred a few years following the release of Shake Hands With Shorty, and yet it also proves that at the end of the day, there is simply no replacement for real talent and love for the foundations of music. Though each of their albums is well worth owning, there is no question that The North Mississippi Allstars were at their finest on the first song of their debut album, 2000's, "Shake 'Em On Down."

December 14: Hot Tuna, "Keep On Truckin'"

2011-12-14T01:42:00.082-05:00

Artist: Hot Tuna
Song: "Keep On Truckin'"
Album: Burgers
Year: 1972

CLICK HERE TO LISTEN (will open in new tab)

Though they are very few and far between, there are a handful of musicians who throughout their careers have proven that they have a level of creativity which is truly limitless. In many cases, these performers not only write some of the greatest songs in history, but they are also members of one (if not many) of similarly revered bands. This has rarely been more obvious than during the final years of the 1960's and early 1970's, as members of a handful of different groups found themselves working with one another, and a few "super groups" formed, releasing some of the finest "one off" albums in history. Yet there was one band that became far more than just a temporary affair, though the initial intent of the group was just that. Originally formed as little more than a side project of Jack Casady and Jorma Kaukonen from Jefferson Airplane, as the 1970's moved forward, it became more and more the central focus of the two, and in the process forced their previous band into one of many large structural changes. Taking a far more mellow and often acoustic approach than what they were doing within the confines of Jefferson Airplane, the team fo Casady and Kaukonen recorded a number of the most beautiful songs of the decade, and there are few songs that more accurately represent the sound of Hot Tuna, nor stand as iconic as the bands' fantastic 1972 track, "Keep On Truckin'."

The entire mood of "Keep On Truckin'," as well as the overall musical direction of Hot Tuna are clearly evident within the opening refrain of the song, as the light, winding acoustic progression played by Jorma Kaukonen has a completely distinctive sound. It is the way that the riff perfectly balances folk, country and bluegrass sounds, yet manages to also maintain a very youthful and vibrant tone. This completely unique spirit is heightened by the violin from "Papa" John Creach, and there has rarely been a finer mixture of this instrument into a non-classic setting. There is a fantastic swing that comes through in his playing, and it gives an "Old West" feeling as it blends seamlessly with the piano from Nick Buck. Throughout "Keep On Truckin'," it is the way that the melody seems to bounce off of the walls in celebration which makes it impossible to not become caught up in the track, and it is also this superb interplay between instruments that shows the massive level of talent within the players. Yet it is also the rhythm section found on "Keep On Truckin'" that pushes the song to such heights, and the team of bassist Jack Casady and drummer Sammy Piazza were able to bring an entirely new mood and approach to the musical backbone. Mixing together the funky groove from the bass with one of the most creative percussive performances in history, one can find massive influence from their playing here all across a wide range of later bands.

Yet when one considers everything around Hot Tuna, perhaps the most significant is when one realizes just how underutilized the voice of Jorma Kaukonen was within the confines of Jefferson Airplane. Much like the music over which he is singing, there is a fantastic blending of styles and sounds within Kaukonen's voice, and the way that he slides across the verses is one of the most pure pleasures ever captured on tape. There is a relaxed, yet confident freedom within his voice that makes the rest of the song sound like nothing more than a group of friends sitting around jamming, and it is this upbeat tone which pushes "Keep On Truckin'" into a class all its own. Furthermore, it is the way that the vocals "sit" on top of the rest of the music which makes this track sound far more complete than the bands' previous efforts, and this is true of the entire album. Working in perfect harmony with both the vocals and the spirited music, the lyrics (written by Bob Carleton) to "Keep On Truckin'" have a loose, positive feel to them that completely grabs the listener. Styled in a folk-blues formation, one can pull a number of interpretations from the words, and yet at the same time it is the overall feeling of joy that comes through in every word which serves as the ideal finishing touch to this unique fusion of various styles.

Looking at "Keep On Truckin'" as a representation of not only the band, but more specifically the Burgers album, one can make a strong case that the record marks the most important transition in the history of the group. It is the more complete sound each song has, as well as the finer construction and performances that make it understandable why Hot Tuna would soon become the main focus for the team of Kaukonen and Casady, and yet this record easily holds up on its own, regardless of their previous musical work. All across the record, one can experience the vibrant sounds and singing that quickly endeared the group to massive audiences; and even after nearly forty years, songs like "Keep On Truckin'" have lost none of their appeal. It is due to the honesty in performance and the sheer talent within Hot Tuna that makes the track able to hold up after so many years, as it fits in perfectly within the modern world of music. The way that "Keep On Truckin'" bounces and swings is unlike any other recording of the era, and it serves as proof that truly great songs always find a way to transcend musical preference as well as time itself. Whether it is due to the absolutely dazzling, almost whimsical musical arrangement or the subtlety strong singing, there is simply no other song in history quite like Hot Tuna's brilliant 1972 recording, "Keep On Truckin'."

Daily Guru: "Something Old, Something New #33"

2011-12-13T08:11:00.000-05:00

It’s Tuesday, and that means it’s time for another dose of “Something Old, Something New” with The Daily Guru. Share and enjoy.

December 13: System Of A Down, "Toxicity"

2011-12-13T01:16:00.076-05:00

Artist: System Of A Down
Song: "Toxicity"
Album: Toxicity
Year: 2001

CLICK HERE TO LISTEN (will open in new tab)

Few will argue that the past two decades of recorded music has suffered massively in terms of originality and creativity when compared to other eras. Whether it is due to bands no longer feeling the need or want to "try something new," or the music industry wanting nothing more than copycat bands, "great" albums seem to be released with less frequency as the years pass. However, in the ultimate irony, when one of these "great" albums or bands does manage to find its way into wide distribution, the majority of the so-called "music press" often completely miss it, with the contents of the album in question being so amazingly brilliant, that it goes right over their collective heads. In the past twenty years of music, no band better represents this idea than System Of A Down, as their first recordings were not given the ample credit they deserved; and in many ways, one can point to the band as the most pivotal band in any genre over that time span. Playing in mind-bending time signatures with an urgency and power that is impossible to ignore, System Of A Down completely rewrote the books on what was possible within the world of hard rock and heavy metal, and due to their wonderfully original sound, they manged to gain a respectable amount of mainstream acceptance. On every song, the group gives all they can to their unique blend of sounds and styles, and there may be no finer an example of the genius that is System Of A Down than their 2001 single, "Toxicity."

It is within the opening notes of "Toxicity" where System Of A Down quickly separates themselves not only from their heavy metal peers, but from every other band from all other genres across the board. As the song begins with a uniquely beautiful guitar progression from Daron Malakin, there is instantly a tension present, and this is pushed quickly to a frenzied level as the rest of the band crashes in after this melody. The group wastes no time in getting into "high gear," as the energy on "Toxicity" is far beyond that of any other recording one can find anywhere. While there is certainly the more "standard" growling sound of heavy metal within the instruments, there is also a clear level of musicianship that is far beyond that of most other performers. Drummer John Dolmayan is nothing other of spectacular throughout "Toxicity," as he spins the song into sounding like it is being played in a number of different time signatures due to his superb fills and cadences. Moreso than almost any other drummer, Dolmayan is mixed rather far to the front of the mix, and this helps to emphasize the almost dizzying spin he puts on the song. The band is rounded out by bassist Shavo Odadjian, and it is the menacing groove that he injects into the track which gives it a uniquely fantastic sense of balance. The combined sound of System Of A Down is unlike anything else ever recorded, as their is a clear, controlled beauty within the musical mayhem they create, and one cannot help but listen to the song again and again.

While the sound that the musicians-strong within System Of A Down create was certainly nothing short of revolutionary, there is no arguing that the voice of Serj Tankian stands as one of the most iconic of the past few decades. Much like the music over which he sings, there is a commanding presence to his voice, an yet at the same time, it is evident that there is much to be learned from the words which he sings and shouts. Unlike a majority of other heavy metal singers, there is no question that Tankian has an excellent vocal range, and he understands how to properly use it across "Toxicity." It is the way that he is able to create a sonic diversity even within his shouting that is often so captivating, and yet it is clear that he only raises the level of his voice when it "fits" properly within the overall musical context. Working against the more common beliefs of "how" heavy metal works, one can argue that it is during the more restrained, softer vocal moments where the truly great moments of tension are formed, and the shouting is where one can find the release. Yet at the same time, there are only a handful of current performers that can hold their own against Tankian when it comes to lyrics, and those found on "Toxicity" are some of his finest. Releasing some of the mot pointed and powerful social criticism of his generation, it is the way that the words ring across the track that provides the ideal finishing touch to a truly masterful recording.

Even after more than a decade since its initial release, "Toxicity" still fails to receive the full credit which it is unquesitonably due. Quite literally, there is not a note or beat out of place anywhere on the track, and one would be hard pressed to find a song from any genre of the past decade that can top this phenomenal recording in totality. It is the way that "Toxicity" is able to sway back an forth, then dive head-first into a controlled chaos that sets them so far apart from other bands, as few other groups are able to execute "both sides" of heavy metal with this level of consistency and perfection. There is a clear understanding within all of the band members that "volume does not equal power," as System Of A Down builds the overall energy of the song through every movement of this track. The fact that one can also find diversity within the way that the guitars sound shows their full level of creativity, and there is no denying the reality that it is this mixture of sounds and styles that breathed new life into a fading heavy metal world. One can also hear heavy influences from many of the "rap-rock" bands that emerged during the tail-end of the late 1990's, and yet at the same time, there is no question that System Of A Down bettered this style in a number of ways. Spinning and hitting with a power unlike any other recording in history, there are few songs from any era or genre that can compare to the overall musical experience found within System Of A Down's brilliant 2001 single, "Toxicity."

December 12: Daily Guru, "Gurucast #102"

2011-12-12T00:09:00.001-05:00

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 commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song or album):
1. digital underground, "The Return Of The Crazy One" The Body-Hat Syndrome
2. The Clash, "London's Burning (Promo Video Take)" DOA
3. Talking Heads, "Houses In Motion" Remain In Light
4. Le Butcherettes, "Henry Don't Got Love" Sin Sin Sin
5. Charles Mingus, "Better Git It In Your Soul" Mingus Ah Um
6. The Roots, "One Time" Undun
7. This Bike Is A Pipe Bomb, "Willie Junior" Convertible
8. Elvis Presley, "Just Because" Elvis Presley
9. Del McCoury Band, "Just Because" 2002/06/22
10. Janes Addiction, "Just Because" Hypersonic
11. Operation Ivy, "Bombshell" Energy
12. J. Mascis, "Alone" Peel Sessions
13. Butthole Surfers, "The O-Men" Locust Abortion Technician
14. Dick Dale, "Shake n Stomp" Surfer's Choice
15. Thin Lizzy, "Just The Two Of Us" Best Of Thin Lizzy

December 11: Rusted Root, "Ecstasy"

2011-12-11T01:09:00.061-05:00

Artist: Rusted Root
Song: "Ecstasy"
Album: When I Woke
Year: 1994

CLICK HERE TO LISTEN (will open in new tab)

In an overwhelming majority of cases, the rise of fame for an artist or band is somewhat predictable, as they hone their sound to a certain level, and find that sound moving into the mainstream around the same time. The other side is when bands are so far from the mainstream sound that they become favorites within the "musical underground," and in many cases eventually find themselves within similar levels of popularity to those on the opposite end of the world of music. Then of course, there are a scant few groups in the history of music whose success is in every way completely inexplicable, and there may be no other band that better represents this idea than Rusted Root. The band is unquestionably one of the most overly-creative and outright talented groups in the past few decades of music, but the reality is that their distinctive blend of sounds was such a far cry from anything going on within the world of music during the early and mid-1990's, that they "fit" absolutely no formula for musical success. During an era when "grunge," "gangsta rap" and female singer-songwriters were dominating the chats, the fact that Rusted Root found success with what can most closely be described as "poly-rhythmic jam rock" was able to gain such a following is nothing short of astounding. Though the band rarely recorded a song anything less than stellar, one can find all of their greatness inside Rusted Root's fantastic 1994 single, "Ecstasy."

From the moment that "Ecstasy" begins, there is a vibrancy to the music that stands in stark contrast to the harsh and dark themes that were dominating the world of music at the time. It is the way that the entire band moves as a single unit that makes "Ecstasy" impossible to ignore, and even those who do not regularly listen to this style of music cannot help but bounce along with the superb musical arrangement. It is the way that the acoustic guitar of Michael Glabicki flies around the rest of the instruments that stands as one of the most captivating aspects of the song, and he almost instantly cemented his place as one of the most creative and outright talented players of his generation. His ability to bring a harder rocking sound, and quickly shift it into a wonderfully introspective and deep lament shows the range of possibilities within the instrument, and in many ways he was reinventing a "lost art." However, while his performance is nothing short of exceptional, it is the dazzling poly-rhythms over which is plays that is the key to the appeal of "Ecstasy." It is the way that Rusted Root were blending together everything from Native American sounds to Latin influences to clear inspiration from the Afro-beat sound that makes their music so distinctive, and one cannot help but be completely captivated by the celebration of life that ring through the playing of the various percussionists.

Though there is no question that it would be a difficult task for any vocalist, one of the most amazing aspects of "Ecstasy" is the way that Glabicki is able to match the intensity and emotion of the music within his vocal performance. Throughout this song, Glabicki shows that he knows no limits in terms of vocal range, and there are few performances from any point in history that so perfectly display the idea of the energy of a song dictating the vocals. As the intensity of the music builds, one can hear the energy and inflection of the vocals change in a similar manner; and it is the fact that Glabicki is able to exude just as much beauty and intensity within the more up-tempo moments as he can in the songs' softer parts that prove his talents as a singer. Yet it is also the spirit of the entire band that comes through on the shared vocals throughout "Ecstasy" that make it clear why this sound would have easily set any live audience into a joyous frenzy. Working more to this angle, the lyrics found on "Ecstasy" embody the counter-culture thought process of the time, as they speak of leaving behind the material possessions in life and celebrating for life itself. The sheer freedom that comes through on every moment of "Ecstasy" is fitting of such a title, and there is no other song of the era that presents as perfect a balance between the music and vocals as one can find on this track.

While there is no arguing that it would be another of Rusted Root's songs that can be labeled as their "breakthrough" release, the fact of the matter is that "Ecstasy" is far more representative of their sound and abilities. Within the song, one can hear influences on their music that easily associated them with everything from the "jam bands" to some of the finest Latin rhythm sections in history, and there is simply no way to properly describe the bands' completely unique musical approach. It is the way that the band is able to quickly get into a deep groove, and spin it in a number of different directions with a range of tempos that make the song so fantastic, and even after hearing "Ecstasy" countless times, it never loses a bit of its appeal or intrigue. However, one cannot overlook the fact that when one thinks logically, there was no way a band like this could have gained international attention at the time that they released this song and album. Simply put, the rest of the world of music around them was at its high-point, and there were almost no acts that didn't in some way give a nod to one of the dominant sounds that found any success. This reality is in many ways a testament to the exceptional level of talent and creativity within Rusted Root, and to this day, there has never been a similar group. The fact that the band is so wonderfully unique, along with the outright energizing vibrancy of the track is the reason why Rusted Root's 1994 song, "Ecstasy," stands as one of the finest musical achievements of all time.

December 10: Jim Croce, "Time In A Bottle"

2011-12-10T01:22:00.071-05:00

Artist: Jim Croce
Song: "Time In A Bottle"
Album: You Don't Mess Around With Jim
Year: 1972

CLICK HERE TO LISTEN (will open in new tab)

For a majority of bands and artists, the music in question is in a similar form throughout their catalog, as the group attempts to master a certain sound. That is to say, a hard rock or heavy metal band may have a ballad here and there, but their primary sound is very easy to define. It is the few performers throughout music history who are able to take their musical approach and deploy it within a wide array of tempos and moods that stand far beyond others, and amongst this group, few can compare to the sound and sheer presence found within the music of Jim Croce. Standing as one of the most tragically short careers in all of music history, a number of Croce's songs have become absolute classics and remain just as powerful and moving today as they were nearly four decades ago. Recording everything from more upbeat pop-styled songs to some of the most outright beautiful folk-style ballads in history, there is no arguing that Croce's sound is anything less than blissfully unique. All across his entire catalog, there is a warm, welcoming feeling, and it is this element which has rarely been achieved by any other artist. Due to his absolutely phenomenal voice and completely captivating musical arrangements, it is difficult to single out just one of his songs, and yet one can find everything that makes Jim Croce such a music legend within his unforgettable 1972 song, "Time In A Bottle."

The musical arrangement that comprises a vast majority of "Time In A Bottle" is nothing more than a repeated, descending pattern played on acoustic guitar. In many ways, this progression sounds almost like a lullaby of sorts, an it is within this aspect of the song where the "warmth" that defines the songs of Jim Croce can be heard. It is also in the guitar that one can sense an almost mystical, perhaps even a bit of a mid-even influence, and even after repeated listenings, this melody never loses any of its intrigue and appeal. Adding further depth to the overall sound, but never becoming too aggressive, the electric piano played by Tommy West furthers this "old" sound, as the tone gives "Time In A Bottle" a somewhat Baroque feel, as well as a completely unique bounce. The fact that this rather minimal musical arrangement is able to convey such heavy emotions throughout is a testament to the exceptional talents of Croce as a writer, and every part of the music on "Time In A Bottle" has become a part of music history itself. However, one can also see a slightly darker side to this arrangement, as there is a sense of sorrow lying underneath much of the music, as if it is a bit of a warning to the listener. From this, one can hear the unique bounce within the song as a death-march of sorts, and few other musical arrangements in history have shown a similar duality.

Yet while it is impossible to understate the power and outright beauty found within the music on "Time In A Bottle," few will argue that it is anything other than the voice of Jim Croce that is the focus and most lasting memory of this song. There is a gentle, yet wise aura that comes through in every song he sings, and it has rarely been as powerful as one finds here. One can almost hear the lament and heartbreak within his voice, and the fact that he is able to convey so much power whilst staying in a rather quiet vocal approach shows why he stands so far beyond nearly every other singer in history. In the way that he sings the song, one can gather that Croce understood just how delicate "Time In A Bottle" was in terms of both music and lyrics, and it is uniquely serene way that he sings which cements his legacy as one of the greatest performers of all time. However, it is also the somehow simple, yet deeply philosophical lyrics that Croce presents on "Time In A Bottle" which has made the song so timeless, and few recordings so perfectly describe what is one of the most common frustrations of humanity. Simultaneously lamenting the fact that life is far too short and the idea that one must take advantage of the time they have, Croce is able to spin some of the most touching words of true love that have ever been penned, and it is within this final element that "Time In A Bottle" is placed into a category of greatness all its own.

In what stands as perhaps the most tragically ironic moment in the entire history of music, "Time In A Bottle" was not released as a single until after Croce's unexpected passing in a plane crash in September of 1973. Upon release, the song shot all the way to the top of the charts, and the meaning one can interpret from the words took on an even deeper and more chilling meaning in the light of those events. Yet the fact of the matter is, the song was actually written for a celebration entirely opposite of what most people believe. Croce penned "Time In A Bottle" after learning that he was to be a father for the first time, and in this, both the lullaby-like tone, as well as the warning as to the briefness of life make far more sense. This overall tone has not diminished in the least with the passage of time, and few other songs can boast a similar longevity. Furthermore, "Time In A Bottle" has been covered countless times over the decades, and everyone from Glen Campbell to Lena Horne to The Muppets have taken their turn on this beautiful ballad. However, it is due to the way that Croce navigates the delicate roots of the song that makes his version impossible to duplicate or better, and the song is able to hit just as hard today as it was almost forty years ago. Though he had a number of hits during his short career, there is simply not another recording in history that can even remotely compare to the power and presence found within Jim Croce's unforgettable 1972 song, "Time In A Bottle."

December 9: The Moody Blues, "Ride My See-Saw"

2011-12-09T02:35:00.076-05:00

Artist: The Moody Blues
Song: "Ride My See-Saw"
Album: In Search Of The Lost Chord
Year: 1968

CLICK HERE TO LISTEN (will open in new tab)

Though there are many, one of the biggest misconceptions about the psychedelic movement is that it was a separate sound from that of rock and roll. Many attempt to write-off the psychedelic sound as little more than mellow, drug-infused musical explorations, and yet some of the heaviest grooves and hardest rocking riffs of the entire 1960's can be found under the umbrella of this classification. In fact, many years before bands like Led Zeppelin and Black Sabbath were defining the hard rock and heavy metal sounds, one can find psychedelic groups already deploying such tone within their sounds. Among the many great bands that worked all across the spectrum of the psychedelic sound, few showed as much range and pure talent as when one looks into the recorded catalog of The Moody Blues. Whether they were deploying deep, soulful sounds that pulled a great deal from the r&b style, working through extended concept records, or spinning a hard rock edge onto the psychedelic sound, the band seemed to know no musical limits, and due to this reality is is rather difficult to pin down a single album, let alone song as their finest or most definitive work. However, there is no question that when it comes to hard rock and deep grooves from the late 1960's, few songs are better than The Moody Blues' brilliant 1968 single, "Ride My See-Saw."

While the studio version of "Ride My See-Saw" comes in seamlessly from the albums' opening track, the single version enters at the "end of the laughter." Regardless of which version one hears, the fact of the matter is that the mood and energy of the song is present from the very first moments. There is a tone and presence to the guitar of Justin Hayward that is completely unique, and it is the slight fuzz combined with the simple, yet unforgettable riff that makes the song so fantastic. The over-dubs are almost impossible to pick out, and the various parts flow perfectly into one another. However, one cannot understand the amazing sense of the dramatic that comes from the interaction between this sound and the string section that is mixed slightly to the back of the song. It is this element that gives "Ride My See-Saw" an almost regal feel which give it a larger sound than most other songs of the time period. Along with these fantastic elements, the bassline played by John Lodge is without question one of his finest, and the amount of movement that it lends to the song is second to none. It is within this aspect of the song where one can find the influence from the bands' early sounds which were far more in the r&b school of music, and this tone sets the song further apart. Finished off by a range of percussive instruments, "Ride My See-Saw" has an upbeat swing that injects a vibrancy into the listener that is rarely heard elsewhere.

Along with the uplifting and energizing music, the way that the vocals are mixed and recorded on "Ride My See-Saw" gives the track a completely distinctive sound. The echo that runs throughout every vocal part enables the track to grow even larger in presence, and there is no question that this is one of the finest examples of the balance one needs in a song to give it a mood and tone all its own. However, the actual singing cannot be overlooked, as the leads and harmonies are easily some of the finest in the entire psychedelic movement. It is the way that the echo makes the lead part almost sound like a harmony onto itself that is so fantastic, and when the rest of the group joins in for the bridge and chorus sections, "Ride My See-Saw" takes on an almost religious sound in terms of the singing. There is also a spirit of freedom and joy that runs throughout every vocal part, and it is this element that manages to completely captivate every listener. Furthermore, the lyric to "Ride My See-Saw" can easily be interpreted on a number of levels, and one can assume that for many youth of the time, the rather obvious choice of hearing the song as a reference to an acid trip was probably the most common. However, one can also read the words as a commentary on life from many angles, and it is this diverse range of interpretations that serves as the ideal final element to a superb recording.

However, even if "Ride My See-Saw" were not as magnificent a recording as it is, the song would have been important regardless, as it has a massive historical significance. The fact of the matter is, "Ride My See-Saw" represents one of the first rock-style singlse to utilize an eight-track recording method in the studio. While this technology had been used on a number of rock records previously, its use for "only" a single had rarely occurred before, and its use here would set the standard for decades to follow. Yet one cannot deny the reality that the method with which it was recorded quickly became a side-note, as the song itself is easily one of the most vibrant and overall fantastic recordings of all time. The fact that the band is able to keep this positive energy going from end to end sets them far apart from their peers, and one can also argue that the feeling keeps building and building, never hitting an apex or moment of release. While in most cases, such would lessen the overall impact of the song, the way that The Moody Blues make this structure and approach work on "Ride My See-Saw" is yet another way that the band stands so far beyond their peers. Whether it is due to the absolutely captivating and invigorating musical arrangement or the almost blissfully echoed vocals, there is simply no other song in music history that has a sound and presence quite like that found on The Moody Blues' sensational 1968 single, "Ride My See-Saw."

Daily Guru: "Something Old, Something New #32"

2011-12-08T08:16:00.000-05:00

Thursday means another dose of “Something Old, Something New” with yours truly. Share and enjoy!

December 8: The Shirelles, "Will You Love Me Tomorrow"

2011-12-08T01:10:00.081-05:00

Artist: The Shirelles
Song: "Will You Love Me Tomorrow"
Album: Will You Love Me Tomorrow
Year: 1960

CLICK HERE TO LISTEN (will open in new tab)

Though it is often one of the more overlooked elements concerning the so-called "girl groups" of the 1960's, there is generally a lacking in depth within the lyrical content of such artists. While there is no way that one can overstate the amazing vocal performances that are found in almost every group of this style, the words that they sing are often rather predictable and over-used. One can see a similar trend within the world of hip-hop over the past decade, and yet in both cases, one can always find a handful of exceptions that defy this argument. In the case of the girl-groups, there is no question that standing near the top of them all is The Shirelles, and one can point to this quartet as being the "first" such act of the "rock era." Previously, most girl-groups had been strictly within the schools of "doo-wop" or r&b, and it was the work of The Shirelles that breathed an entirely new life into this style. Due to this reality, as well as the superb voices contained within the members, a number of recordings by The Shirelles remain the most famous in all of music history, and yet it was when the group took on an arrangement with a stronger subject matter that they recorded their best known hit. Overflowing with absolutely gorgeous vocal work, as well as some of the most pointed lyrics of the era, there is simply no other song that holds a similar spot to The Shirelles' 1960 classic, "Will You Love Me Tomorrow."

Strangely enough, when "Will You Love Me Tomorrow" begins, it sounds just like almost every other recording from the era, as there is a slow swing that in many ways embodies the spirit of that time period. However, once one listens more closely, it is the way that the guitar rings in the background that gives it a sound and attitude that separates the song from almost all of their peers. Yet it is the way that this guitar gives way to the string section, and the interaction between the two parts that makes "Will You Love Me Tomorrow" such a fantastically unique musical experience, and it would serve as the blueprint for a long list of later artists. The string section gives the song a great deal of depth and a sense of the dramatic, and yet it is the fact that it does not run throughout the entire track that shows the balance and understanding of musical structure at play on the recording. As these sounds combine with the almost Latin-sounding rhythms, "Will You Love Me Tomorrow" is vaulted into a category all its own, as one can hear the track as the ideal combination of the "older" sounds and the new, up and coming rock-style musical presentations. The final element in this exceptional musical arrangement is the steady rhythm of the piano, and it may be this aspect that is the most definitive sound one can take from "Will You Love Me Tomorrow." It is the way that the piano is in almost a tango that makes it so unique, and this certainly played a massive role in the songs' quick rise to popularity.

Working in absolutely phenomenal fashion all across the brilliant musical landscape, the vocals on "Will You Love Me Tomorrow" are perhaps the finest definition of "subtly powerful." Though the harmonies are nothing short of unforgettable, it is the lead vocal work from Doris Coley. Easily working all across the vocal scale, it is the emotion and inflection within her singing that places her high above almost any of her contemporaries. The way that Coley is able to express the songs' position of being between the wishful innocence of the teenage years, and the more cynical, understanding reality of adulthood has never been captured so perfectly, and when she lets her voice soar in unrestrained beauty, one can only listen in sheer awe of her presence. However, one must give proper credit to the fact that Coley was given one of the greatest lyrics ever written, and it can be argued that "Will You Love Me Tomorrow" is the greatest composition ever by the team of Gerry Goffin and Carole King. As the protagonist muses on the question of whether her lovers' feelings are "real" or nothing more than a physical urge, Goffin and King dig deep into the depths of human emotion. Truth be told, there are few lyrics from any era that are as simultaneously cutting and outright beautiful as when Coley sings, "...is this a lasting treasure, or just a moment's pleasure?" and it is the words which serve as the ideal finishing touch to this iconic recording.

As the decades have passed, the impact and presence of "Will You Love Me Tomorrow" has rarely faded even for a moment, as it has been used regularly within film, television, and other areas of popular culture. Over that time period, the song has also been recorded and performed by artists ranging from Ben E. King to Lauryn Hill to Elton John to Roberta Flack, and Carole King also made her own recording of the song more than a decade after her initial writing. However, even with all of these covers, there is a certain attitude and pain within the original that enables it to remain far above all other versions. Along with the rather timeless nature of the song, "Will You Love Me Tomorrow" also holds the historical title of being the first song performed by an all girl group that made it to the top spot on the U.S. charts. This in itself would be enough to place the song in the "all time greatest" category, but the fact that the vocals and lyrics are in themselves so amazingly powerful helps to place the track into a uniquely revered spot in history. It is the way that the music seems to sway slowly, in an almost mournful manner behind Coley's questioning vocals that make it impossible to ever forget the song, and the final addition of the universally-felt lyrics is what places The Shirelles' unforgettable 1960 recording, "Will You Love Me Tomorrow" alone at the top of classic "girl-group" songs.

Daily Guru: "How To: Workout Playlists"

2011-12-07T08:11:00.000-05:00

In today’s special edition of The Daily Guru on YouTube, I answer a rather specific question sent in by a viewer. Share and enjoy.

December 7: War, "Low Rider"

2011-12-07T02:41:00.076-05:00

Artist: War
Song: "Low Rider"
Album: Why Can't We Be Friends?
Year: 1975

CLICK HERE TO LISTEN (will open in new tab)

For certain sounds that have emerged from recording studios, there is simply no way to give an accurate description of the style with which the artist or band in question plays. While they may share some similarities with already-established styles of music, the fact remains that there is often so much mixing of influences and outright musical inspiration, that no single word can describe the sound. During the middle of the 1970's, this became extremely apparent, as innovations in technology, as well as the mixing of many different cultures under the umbrella of "rock and roll" gave birth to some of the most excitingly unique bands in history. Among these fantastic groups, there were few others that shows the creative range and level of musicianship that one can find within the recorded catalog of War. Though they went through a number of lineup changes throughout the history of the band, the group is responsible for some of the most distinctive sounding hits ever recorded, and their sound manages to easily defy any common description. Pulling their influence from sounds ranging from funk to blues to Latin jazz to the psychedelic movement among others, the music of War remains as uniquely fresh today as it did more than three decades ago. While the band had a number of unforgettable hits, no other can measure up to the sound and mood found on War's magnificent 1975 single, "Low Rider."

There is no getting around the fact that while every element of "Low Rider" is worth mentioning, the song revolves around the unforgettable riff that runs throughout. For most people, even hearing the songs' name instantly brings to mind the cooled-out, poly-rhythmic groove that sits under the fantastic horn progression. While this progression is rather simple in structure, it is the style and mood with which Charles Miller and Lee Oskar play it that has turned it into one of the most iconic musical moments in all of history. The sense of movement that is conveyed through this riff is second to none, and it remains just as enjoyable and captivating today as it was more than thirty years ago. It is the way that these horns combine with the brilliant performance from the rhythm section that vaults "Low Rider" to such highly revered status, as the groove they create is second to none. From the opening cow bell cadence to the fantastic drum "roll in," the drumming all across "Low Rider" is nothing short of superb. Much of the groove and overall mesmerizing quality of the song comes from the multiple drums, and the way that each of them are able to bring a unique sound and tone to the track. Combining this with the deep grooving, sliding bassline, and there is no question that the overall orchestration found on "Low Rider" stands as one of the greatest musical arrangements in the history of recorded music.

Yet it is the fact that the vocals are equally distinctive and captivating that pushes "Low Rider" to the status that it enjoys to this day. The tone of the singing perfectly matches the laid back sound found within the music, and one can easily argue that it is this style which remains one of the most imitated vocal passages in all of music history. It is the way that the vocals are somewhat dark, perhaps mysterious; and yet retain an upbeat, fun vibe throughout that makes them so unique, as well as the fact that the rhythm with which they are sung adds and additional tempo to the song. In many ways, one can argue that the vocals on "Low Rider" are far more akin to those found within the world of hip-hop than any other genre, and this shows yet another style of music that is working within the overall orchestration. Furthermore, it is the fact that the lyrics to "Low Rider" can be interpreted on different levels that serves as an ideal finishing touch to the song. While many can easily make the argument that this is the finest tribute to a car ever created in musical form, there are those who believe that there is an ulterior, more risqué meaning to the song if one digs deeper. After considering this secondary interpretation, it is easy to read sexual connotations in the words, and yet regardless of which way one "hears" the song, the fact remains that the vocals and lyrics stand as some of the finest ever captured on tape.

As the decades have passed, few songs have persevered as well as "Low Rider," as the song continues to be utilized all over popular culture. It is almost impossible to find a film that takes place during that era that does not find some way to use the song, and it stands as one of the most definitive songs of the entire decade. A number of television shows and commercials have also utilized the song over the years, and in many ways, "Low Rider" is just as relevant to the current generation as it was during the time that it was first released. Along with these usages, dozens of artists ranging from Phish to Nirvana to Korn to Barry White have all recorded their own rendition of the song, and yet none have been able to capture the "cool" that defines the original from War. Furthermore, the fact that the song was originally released during the domination of the disco sound makes it a rather unlikely "hit," and yet the deep grooves and completely undefinable sound that "is" "Low Rider" makes it impossible to not get into this fantastic musical work. The way that War is able to blend together Latin poly-rhythms with the deep funk, and then add in a bit of the "cool" from the world of jazz makes it absolutely unlike any other song ever recorded; and there is simply nothing that can compare to the brilliant musical perfection that is War's classic 1975 single, "Low Rider."

Daily Guru: "Something Old, Something New #31"

2011-12-06T08:13:00.001-05:00

It’s Tuesday, and that means it’s time for another dose of “Something Old, Something New” with The Daily Guru. Share and enjoy.

December 6: MC Hammer, "U Can't Touch This"

2011-12-06T01:04:00.081-05:00

Artist: MC Hammer
Song: "U Can't Touch This"
Album: Please Hammer, Don't Hurt 'Em
Year: 1990

CLICK HERE TO LISTEN (will open in new tab)

Throughout the long history of recorded music, there have been a small handful of songs that were so massive, so impossible to get away from upon release, that in some ways they have almost become cliché. That is to say that the song becomes so big that it crossover from being a work of music to representing a moment in history, and the impact that such songs have on culture in general is often immeasurable. One can easily find examples of this idea across every generation and nearly every style of music, and yet it seemed that this random chance was almost a regular occurrence during the first few years of the 1990's. With a handful of new genres bursting into the mainstream almost simultaneously, the idea of "pop music" almost completely lost any sense of meaning, as there were massive sales numbers in everything from heavy metal to light rock to hip-hop and almost every other genre one can find. However, it was within the world of hip-hop music where a massive amount of sub-genres began to emerge, and it was the dance-club anthems from the now-legendary MC Hammer that in some ways stand as a style onto their own. Few performers of the era were as instantly recognizable our outright talented as MC Hammer, and there may be no bigger song from the entire decade than his iconic 1990 single, "U Can't Touch This."

In many ways, there is not a single aspect of "U Can't Touch This" that is anything less than unforgettable, and it all begins with the head-bobbing beat and the irresistible musical hook. It was this hook that brought a great deal of controversy to the song, when Rick James successfully sued MC Hammer for his unauthorized use of his classic song, "Super Freak." However, this was eventually settled out of court (with James receiving co-author credits), and it in no way impeded the run-away sales figures that "U Can't Touch This" achieved. This connection to the funk-disco classic also helps to show the strong link between that style and hip-hop, and using this as a basis, one can see many similar connections in other songs of the era. It is the way that the groove from "Super Freak" manages to dance under the fantastic beats that makes the song so fantastic, and one can see this as creating an entirely new style of hip-hop music. In the case of "U Can't Touch This," there is no getting past the fact that this song was made for dance clubs, and even after more than two decades, the way that the hook blends with the beat can still quickly light up any party. It is also the fact that "U Can't Touch This" presented such a stark contrast to the so-called "gangsta rap" movement that had been building elsewhere on the West Coast which solidifies its historical significance, along with the fact that there are few musical hooks from the decade that are more memorable than the one found here.

However, while the music that backs "U Can't Touch This" has certainly etched its way into the history books, it is the lyrical and vocal delivery of MC Hammer that has also managed to become a part of history itself. There is a relaxed, smooth sound to Hammer's rapping style, and it is this purposeful concentration of the lyrical content that makes the song stand apart from many of the other new styles of hip-hop that were emerging at the same time. It is also the raw energy within his voice that aided in the overall appeal and success of "U Can't Touch This," as it is clear that at every turn, MC Hammer is enjoying every second of what he is doing. When one combines this with the straightforward, upbeat rhymes, it is easy to understand why "U Can't Touch This" was such a massive hit, and many of the lines from the song have become parts of popular culture that are still widely used to this day. Whether it is one of his fantastic rhymes or the iconic saying, "Stop! Hammertime!," even later generations have no problem in knowing exactly from where these terms have been lifted. This reality shows the timeless quality of "U Can't Touch This," and it is also the rather honest and positive feel that one can sense in every part of MC Hammer's vocals on the track that have enabled it to rise above other singles from the time, as well as remain fresh within the modern world of music.

Due to the fact that the music and lyrics have attained such an unforgettable status, it is not surprising to see just how many different areas of popular culture have utilized the song or parts of the song. From cartoons to films to television shows, references to "U Can't Touch This" are just as common today as they were during the heyday of the song; and one can see this reality as the final proof as to the songs' massive impact beyond "just" the world of music. Furthermore, a number of video games and commercials have found creative ways to recall the song in part or full, and when it comes down to it, it is almost impossible to find any area of popular culture that does not continue to utilize "U Can't Touch This." However, even when it was first released, the song was held in high regard, as it shot into the top five on the sales charts in more than ten different countries, eventually being awarded the Grammy for "Best R&B Song" as well as the newly-created "Best Solo Rap Performance." With all these awards and accolades, one can easily make the case that "U Can't Touch This" was one of the most pivotal moments in music history, as it enabled the hip-hop style to crossover into a number of other different musical genres. From the unmistakable musical arrangement to the superb vocals across the song, there is simply no other track in history quite like MC Hammer's extraordinary 1990 single, "U Can't Touch This."

December 5: Daily Guru, "Gurucast #101"

2011-12-05T00:09:00.001-05:00

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 commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song, or album):
1. Beastie Boys, "The Move" Hello Nasty
2. Stubborn All-Stars, "I Can't Touch You" Back With A New Batch
3. John Lee Hooker, "One Bourbon, One Scotch, One Beer" Very Best Of
4. Van Morrison, "Astral Weeks" Astral Weeks
5. Queen, "Seaside Rendezvous" A Night At The Opera
6. X-Ray Spex, "I Am A Poseur" Peel Sessions
7. City And Colour, "What Makes A Man?" Bring Me Your Love
8. Dr. John, "I Walk On Guilded Splinters" Gris-Gris
9. Mudhoney, "Touch Me I'm Sick" Superfuzz Bigmuff
10. Air, "All I Need" Moon Safari
11. Cyne, "Plight About Now" Evolution Fight
12. Johnny Hobo & The Freight Trains, "Untitled" Johnny Hobo & The Freight Trains
13. Béla Fleck & The Flecktones, "Big Country" Left Of Cool
14. The Clash, "Should I Stay Or Should I Go" Combat Rock

Daily Guru SPECIAL VIDEO!

2011-12-04T20:31:00.000-05:00

My friend Martin asked me to be a part of his project, and I was more than honored to participate. Enjoy my contribution below.

December 4: The Stains, "Quit The Human Race"

2011-12-04T01:17:00.079-05:00

Artist: The Stains
Song: "Quit The Human Race"
Album: The Stains
Year: 1981

CLICK HERE TO LISTEN (will open in new tab)

Throughout the late 1970's and the first few years of the 1980's, it was almost tragic how many bands were attempting to find their way under the label of "punk rock," and this led to a massive dilution of the talent and sound that defined that term. In many cases, a group that did little more than spike their hair and "pose out" on stage found themselves called punk bands, and yet those who truly study the music understand that it is far more a state of mind within a sound than a silly image or other presentation. It is due to this fact that many of the "true" punk bands remain relatively unknown even within "punk circles," and this is further complicated by the reality that certain names were used by many different bands across the world. Though one can find a number of names being used by multiple bands, one of the most common and confusing can be that of "The Stains," and yet one cannot deny the sheer power and sound of the Los Angeles-based band that used this moniker. In existence for only a few short years, by the time that The Stains released their first full-length album on the legendary SST Records in 1983 (though it was recorded two years earlier), the group had all but broken up. This led to their self-titled full length album becoming a bit of an "underground" classic within the world of punk, and there are few songs that show the ferocity of punk with early signs of a heavy metal crossover than what can be heard on The Stains 1981 recording, "Quit The Human Race."

Much like a majority of the music released on SST, "Quit The Human Race" wastes absolutely no time in asserting itself and setting the tone for the song. There is a raw edge that runs throughout the entire song, and this almost dirty, organic feel becomes one of the most distinctive aspects of "Quit The Human Race." This sound is led by the guitar of Robert Becerra, and it is the high-octane drive within his playing that sets The Stains apart from their peers. It is also the slight distortion in his sound, as well as the tone with which he plays that makes it impossible to deny the heavy metal influence on the group, and the reality is that no other band of the time was attempting this crossover with similar sonic success. For this reason alone, The Stains played a vital role in the progression of both the punk and heavy metal genres, and one can find this influence on a number of the bands' later label-mates. However, it is also the incredible drumming from Gilbert Berumen that stands out on "Quit The Human Race." Not only due to the power with which he plays, but the sheer speed and varying fills instantly separates him from other punk drummers, and again, one can hear elements of heavy metal within his performance. Rounded out by bassist Ceasar Viscarra, there is an odd, unsettling groove that runs throughout "Quit The Human Race," and there is simply no arguing that the song is anything less than a "lost" gem of the original Los Angeles punk scene.

Yet while the music on "Quit The Human Race" is crushing and imposing in a way that few other songs were able to achieve, one cannot discount the equally strong and impressive vocals from Rudy Navarro. Though in his tone, he is quite similar to a majority of "punk singers" from the era, it is the energy behind each of his words that vaults him far beyond most of his peers. While many other vocalists seemed to be shouting because "that's what punk singers did," there is a clear intent and frustration at every turn from Navarro, and the dizzying speed with which he delivers each word remains one of the most impressive aspects of his performance style. Furthermore, The Stains took the "normal" themes of punk music and yet carried them out with far more focus and quality, as "Quit The Human Race" is one of the finest anthems of frustration with the world in general. Pulling no punches, the song is an outright attack on what one can assume was the girlfriend of Navarro, and while the first half of the song is brutal, it does resolve itself (somewhat) in the last verse. Yet "Quit The Human Race" is one of the finest examples of the idea of the way one sings a song being more important than the actual lyrics, as the bite and frustration that one can feel at every turn on this song is the very essence of punk rock, and few groups were ever able to deliver with this sort of unrestrained fury.

In many ways, The Stains can be seen as the definition of what SST Records were known for at that time, as there is no question that each of their songs would have quickly set any live crowd into all out mayhem. The energy that runs underneath every note that they play has an honesty and urgency that can be almost unsettling at times; and one can argue that it is this intangible element that "is" the spirit of punk rock music. Throughout "Quit The Human Race," it is clear that The Stains have no time to waste and intent to expel all of the sonic power that they can as quickly as possible. However, it is the fact that the song has a clear focus which places it above the work of a majority of their peers. Yet the heavy metal sounds that one can hear all across the song further place the band into a category all their own, as there were virtually no other groups on the planet that were creating a similar sound with such success. It is due to this reason that The Stains stand as one of the pivotal groups in the development of both punk rock and heavy metal, and yet due to a number of reasons (mostly the lack of a re-issue of their album), the band remains almost tragically unknown. However, once one hears any of their music, it is impossible to forget their sound, and The Stains rarely sounded better than what one can experience on their 1981 song, "Quit The Human Race."

December 3: Crosby, Stills, Nash & Young, "Ohio"

2011-12-03T03:29:00.084-05:00

Artist: Crosby, Stills, Nash and Young
Song: "Ohio"
Album: Ohio (single)
Year: 1970

CLICK HERE TO LISTEN (will open in new tab)

While there is little arguing that its primary role is that of pure entertainment, there is no question that music is also one of the most important vehicles for social awareness and change within society. All across the decades and genres, musicians have been using their talents to make the general public aware of the issues that they face, and one can point to a number of different songs as being the primary force behind some of the most significant moments in music history. Though there are examples of this idea all across music history, during the late 1960's and early 1970's, such songs were far more abundant, and few groups released a larger number of perfect examples than the super-group combination: Crosby, Stills, Nash and Young. Their names alone stand today as some of the most highly revered in all of music history, and yet it is their amazing vocal work and unforgettable lyrics that have taken on lives of their own. The way that the quartet were able to bring a powerful sense of rebellion within the more mellow sounds of folk music can be seen as the epitome of the spirit of that time period, and there are a number of songs in the recorded catalog of the group that remain absolute classics to this day. However, one can make the case that there is no more powerful or important a song in the history of Crosby, Stills, Nash and Young than their unrelenting, razor-sharp 1970 single, "Ohio."

Truth be told, there is no single aspect of "Ohio" that is anything less than unforgettable, and it begins with the edgy, impossible to forget tone from Neil Young's guitar. This sound would become one of his most defining elements, and yet it seems to carry a special tone when used on "Ohio." It is the way that his more harsh sounding introduction gives way to the more "standard" sway of other songs in the catalog of Crosby, Stills, Nash & Young which makes the song so unique. The multiple-guitar sound found here is far more aggressive than almost any other track the group recorded, and this perfectly mirrors the overall sentiment and driving force behind the single. It is the way that there is a rather unsettling, almost looming quality to the guitars that separate them from the rest of the bands' music, and one can easily assume that this was quite intentional. However, it is also the rhythm section of drummer John Barbata and bassist Calvin Samuels which makes "Ohio" so distinctive, as their performance lends a very strict marching sound to the song. With each strike of the drums, one can feel the tension and the dark, military-esque tone of the song cannot be ignored. The way that all of these sounds come together to create an amazing level of tension, yet remain musically sound is one of the many reasons that Crosby, Stills, Nash & Young stand so far beyond their peers, and few songs showed this ability better than "Ohio."

However, as is the case with many of the songs of Crosby, Stills, Nash & Young, "Ohio" is all about the singing and lyrics, as they may be the best the group ever had to offer. Neil Young's lead vocals throughout the song have a power and presence that he rarely achieved elsewhere, and when the group moves into the harmonies, they are equally as impressive. Yet it is the focused frustration of all four singers that can be felt throughout which makes "Ohio" such a significant musical achievement, and one can easily assume that this is due to the fact that the song was recorded just a few weeks after the incident which it describes. "Ohio" was written in response to the photographs published in LIFE magazine of the notorious "student shootings" that occurred at Kent State University on May 4, 1970. Four students were killed when Ohio National Guard troops opened fire on a group of around seventy students who were protesting against the invasion of Cambodia during the Vietnam War. The news of the incident quickly spread, and as the story goes, Young quickly wrote the song and the single was rushed to release even though the group already had a single being promoted on radio stations. The recording session for "Ohio" was emotional and taxing on all involved, and one can hear David Crosby almost breaking to tears during his soft lament that can be heard as "Ohio" fades out.

The impact of "Ohio" stands as one of the largest and most important in the entire history of recorded music. While countless musicians before them had written pointed and angry songs against "the powers that be," it is the fact that Neil Young decided to directly "call out" then-President Richard Nixon in the lyrics that sets "Ohio" apart from other such recordings. In many ways, it was this reality which made it "acceptable" for later performers to directly attack or name their frustrations, and one cannot overlook what a courageous act this was during that time period. In fact, it was due to this reason that the song was banned from almost every radio station in the United States, and yet by the time this ban occurred, the song had already been played enough that the counter-culture had taken it on as one of their rallying cries. Even more than four decades after the song was first released, "Ohio" remains just as powerful and important as ever, and one cannot help but be completely captivated by this brilliant musical performance. As the years have passed, artists ranging from The Isley Brothers to Mott The Hoople have recorded their own versions of "Ohio," as well as a rather powerful version from DEVO. The latter is significant as two members of the band were actually on the Kent State campus at the time the shootings occurred. Yet none of these later recordings come even remotely close to the power and mood of the original, and there are few songs in history that are as important for so many reasons as one finds in Crosby, Stills, Nash & Young's unforgettable 1970 single, "Ohio."

December 2: Veruca Salt, "Seether"

2011-12-02T01:05:00.080-05:00

Artist: Veruca Salt
Song: "Seether"
Album: American Thighs
Year: 1994

CLICK HERE TO LISTEN (will open in new tab)

While there is no question that the first few years of the 1990's yielded some of the most exciting and innovative new sounds that had been heard in decades, there were also a number of bands that found ways to better the approaches of groups from the previous decade. This was perhaps no more clear than when one looks at the more aggressive strain of pop music that had been mislabeled as "punk-pop" and included the likes of The Pixies, The Breeders, and an array of similar bands. The fact of the matter is that while these bands were unquestionably vital to the progression of music, they often sacrificed musical appeal in favor of distortion, and this prevented the sound from catching on with a much larger audience. It is with this in mind that one must give due credit to the talents of Veruca Salt, as they managed to bridge this gap and brought a style of hard-driven pop music that would inspire an entire generation of new musicians. Clearly taking a large part of their sound from the influences above, it is the way that Veruca Salt injected a fierce, yet fun sound to each of their songs, and the group is responsible for some of the most memorable songs of the entire decade. Deploying raw, irresistibly catching songs all across their 1994 debut, American Thighs, there may be no more definitive an encapsulation of everything that makes Veruca Salt so fantastic than the albums' lead single, "Seether."

All across the opening notes of "Seether," the intent of both the song and band are completely clear, and yet there is no question that on many levels, the sound deployed by Veruca Salt is a far cry from the music being created by a majority of their peers. Where most other bands of the time were getting dark and loud to the point of distortion, "Seether" has an irresistibly catchy bassline that is delivered by Steve Lack. This groove is complimented by a rather dry drum sound from Jim Shapiro, and one of the most distinctive aspects of "Seether" is how far to the front the drums are mixed. It is the way that this sound combines with the imposing guitars of Nina Gordon and Louise Post that defines not only this song, but a majority of the songs from Veruca Salt. There is a bite to every note that booms forth from their guitars, and the brief solo has a sleaze and groove that have rarely been matched. At no point does the band feel anything less than completely open and raw, and it is this hard and honest approach that enables the song to still have a massive appeal even nearly twenty years after its initial release. The fact that the duo are playing so aggressively would play a key role in ushering in a new era of female-led hard rock bands, and few groups have been able to find such a perfect balance between the dirty, trudging guitar sound, and a bright, unique pop appeal.

However, while the main riff to "Seether" is unquestionably one of the most memorable of the decade, there are few who can argue that the vocals from Nina Gordon and Louie Post are any less important to the development of a number of musical styles. Much like their guitar playing, there is a certain bite or spirit within their singing that further pushes Veruca Salt into their own category, and the fact that both singers can easily work all across the vocal scale enables songs like "Seether" to become all the better. The screams and otherwise high-octane singing that occurs at every moment on this song is perhaps the most mesmerizing aspect of the track, and then when one adds in the fact that there are multiple interpretations that can be derived from the lyrics; there is no question that "Seether" is far beyond almost anything else from that era. While many critics attempted to paint the song as some sort of strangely veiled reference to rather risqué relationships between the two singers, the reality is that the song was actually written as a commentary on the almost impossible to control rage that we all encounter in our lives. Once one understands this being the driving force behind the song, the attitude and lyrics make far more sense, and yet even without this knowledge, there is no question that the song is absolutely addictive due to the fact that the singing and lyrics have so much power and vibrancy.

Striking a balance between hard rock, punk rock, and "art" rock that had never before been achieved, there are few that can hold their own when compared to Veruca Salt. The fact that they took on such a style during an era where music was headed in a far darker direction enabled them to have a far wider appeal, and yet one can easily make the case that with the sheer perfection found within both the music and singing, songs like "Seether" would have found mainstream success in any time period. Furthermore, while Veruca Salt are certain a group that is proud of their influences and has no problem making it clear who they are, it is the way that they took the work of these earlier bands, and honed the sound, finishing it off with their own unique twist, that shows a greater understanding of music than one finds in most of the other music being released during the first half of the 1990's. It is the fact that "Seether" retains such a edge within both the music and lyrics, yet never become so hard or loud that it might put off certain listeners, that shows the bands' knowledge and understanding of a number of different musical approaches. Capped off by the fantastic vocals and the rather unapologetic lyrics, and few songs are as unforgettable or as outright enjoyable as what one can experience on Veruca Salt's superb 1994 single, "Seether."

Daily Guru: "Something Old, Something New #30"

2011-12-01T08:21:00.000-05:00

Thursday means another dose of “Something Old, Something New” with yours truly. Share and enjoy!

December 1: Blind Willie Johnson, "Dark Was The Night, Cold Was The Ground"

2011-12-01T01:26:00.073-05:00

Artist: Blind Willie Johnson
Song: "Dark Was The Night, Cold Was The Ground"
Album: Dark Was The Night, Cold Was The Ground (78 rpm record)
Year: 1927

CLICK HERE TO LISTEN (will open in new tab)

As one goes further and further back in music history, there are less and less examples of recorded music, and yet one can argue that those who were able to record were far more influential than from any other period that followed. In fact, one can easily make the case that the handful of artists who found their way onto records during the 1920's and 1930's are completely responsible for the wide range of music that can be found within the current music scene. Though a majority of artists from that era are some of the best known names of all time, there are still a few performers that are slightly less famous, and yet their contributions are almost always just as, if not more important. Among these giants of early recorded music is the man who remains without question one of the greatest slide guitar players in all of history, and there are few musicians that can old their own in any area of music against the talents and sound of the legendary Blind Willie Johnson. Though nearly all of his songs brought with them heavy overtones of religion, there is a power and beauty to every note of each of his songs, and he remains one of the most distinctive of all of the early blues players. He is also responsible for some of the most oft-covered songs in history, and yet there may be no other recording in all of music history that can rival the pain and beauty one can experience on Blind Willie Johnson's iconic 1927 song, "Dark Was The Night, Cold Was The Ground."

The moment that "Dark Was The Night, Cold Was The Ground" begins, an intimate mood far beyond that of nearly any other recording is instantly set into place. This comes from the rather open, almost airy sound that is likely due to recording technology at the time, and yet it is also because one can easily hear Johnson's hands moving on his guitar, quickly drawing the listener into the studio. With nothing more than his guitar, Johnson holds and builds on this mood, and there has rarely been a similar performance that even comes close to the feelings one gets from the guitar on "Dark Was The Night, Cold Was The Ground." It is the way that Johnson slides from note to note, clearly letting the spirit of the song dictate his playing, that makes this such an exceptional moment in recorded history, and the track may be the finest definition of this musical approach. In many ways, the guitar on "Dark Was The Night, Cold Was The Ground" is in itself a vocal part, and the expressive nature of the performance is second to none. This reality serves as a testament not only to the talents of Johnson, but to the true power that lives within the instrument, and countless musicians have used this performances as an example and an inspiration. Yet there is never a moment on this recording that is anything less than powerfully humble, and in many ways, this description perfectly fits the overall style and intent of Johnson's music.

However, what sets "Dark Was The Night, Cold Was The Ground" aside from almost every other recording of the early blues is the fact that the song is almost completely an instrumental. While Blind Willie Johnson's voice is clearly on the track, it is rarely anything beyond a hum or a few mumbles. Yet this works perfectly, as much like the guitar, Johnson is letting the overall spirit of the music dictate his sound. In terms of both the notes that he is humming, as well as the volume behind them, Johnson works in perfect harmony with the sounds of the guitar, and there is no question that this is one of the most stunningly simple recordings of all time. On many levels, one can also see this as the definition of the blues, as his vocal sounds are all about mood and feeling, and one can easily feel the pain and sorrow he expresses in this wordless performance. It is the somber nature that one can extract from his sound that continues to captivate listeners, and many have rightfully stated that Johnson's vocal sound all across "Dark Was The Night, Cold Was The Ground" are the very definition of loneliness. There has never been another expression of human emotion that even comes close to what one can hear on this recording, and it is due to the completely raw and honest way that Johnson approaches the track which enables him to achieve such unrivaled musical greatness.

While there were certainly a number of massively influential blues recordings made during the era during which "Dark Was The Night, Cold Was The Ground" was first released, it continues to stand out from the rest after the better part of a century, and its influence can be clearly seen across almost every style of music that has emerged since. Countless musicians, ranging from Jack White to Peter, Paul, and Mary to Led Zeppelin have all borrowed in part or full from this recording, and it remains one of the most important moments in the development of both blues and rock music. One can also find "Dark Was The Night, Cold Was The Ground" utilized in a wide range of films over the decades, as the mood and emotions conveyed throughout the track cannot be denied, and they hit just a hard today as they did when the song was first released. Furthermore, the song has been recognized in a number of historical ways, including being selected as one of twenty-seven recordings that were launched into space in 1977. It is the way that the voice of Johnson blends so seamlessly with his guitar that makes "Dark Was The Night, Cold Was The Ground" such a uniquely amazing recording, and while countless artists have tried to capture and express such deep and dark human emotions, there is simply no comparison to Blind Willie Johnson's 1927 masterpiece.

November 30: Foghat, "Slow Ride"

2011-11-30T02:42:00.084-05:00

Artist: Foghat
Song: "Slow Ride"
Album: Fool For The City
Year: 1975

CLICK HERE TO LISTEN (will open in new tab)

While one can make the case that one of the greatest achievements an artist can reach is to create a truly original sound that stands in defiance to everything being created around them, there is also something to be said for perfecting a mainstream sound. The reality is, there is almost always a reason why a certain sound catches on, and there are usually a handful of artists that deploy this style with a power and mood that is far beyond a majority of their peers. In fact, one can find a number of instances where even when the music in question was nothing stunning, due to the time during which the song was released, as well as the overall spirit of the performance, it still manage to reach an iconic status. Though there are a number of bands that fit this description, few do so as perfectly as one finds within the catalog of the 1970's blues-rock band, Foghat. Bringing a harder edge to the blues-based rock and roll sound that had been developing for a few years, Foghat possesses a tone that cannot be mistaken, and it is also their rather unsubtle lyrics which quickly endeared them to fans. Even nearly three decades after the release of their most commercially successful recordings, the reality remains that their songs are still just as good today as they were then, and there may be no more essential a blues-rock recording than what one can hear on Foghat's classic 1975 single, "Slow Ride."

Truth be told, there are few song openings from any point in history that can rival that of "Slow Ride," as the stomp which quickly gives way to the guitar riff is one of the few that never "gets old." The way that the guitars from Rod Price and Dave Peverett ring across the track instantly grabs the listener, and the slightly dirty distortion perfectly fits the overall mood of the song. It is within this element of the song where one can hear traces of heavy metal, as the band certainly brings a similar amount of volume. However, it is the almost "Southern" feel to the riff that sets it far apart from any other recording, and one cannot help but get caught up in the fantastic mood that the guitars create. Yet it is also the brilliant work of the rhythm section that has enabled "Slow Ride" to stand out even as the decades have passed. The bassline from Nick Jameson brings a groove and funk that has rarely been matched, and one can hear traces of this sound in a number of bands and styles that followed. There are moments where "Slow Ride" has an almost "go-go" style of swing, and this is a rare occurrence anywhere within the hard rock world. This distinctive tone is perfectly matched by the sound of drummer Roger Earl, and it is the fact that his playing is so far forward in the mix that makes "Slow Ride" a song that once heard, can never be forgotten.

However, while one can argue that it is the musical arrangement which has vaulted "Slow Ride" to such a status, the vocal performance from Dave Peverett cannot be overlooked. Not only does Peverett have a vocal range that is on par with his finest peers, but the tone and style with which he sings is completely distinctive. Matching the music over which he performers to perfection, it is the high-spirited tone in his voice that helped "Slow Ride" to quickly climb the charts on both sides of the Atlantic Ocean. Whether he is keeping a more focused pace and pitch during the verses, or letting the mood of the song dictate his pace and word placement during other parts of the song, Peverett is easily as good as any other blues-rock singer of his era. Yet it is also the fact that the lyrics found on "Slow Ride" can be interpreted on a number of different levels, some suggesting rather unsubtle thoughts, which has kept the song relevant as the decades have passed. While some may say that the song is about a relaxed drive, there are many that will argue that the rather frank sexual implications that one can derive from the words are the far more obvious choice for the songs' meaning and intent. However, the fact of the matter is that due to the spirit with which these words are sung, the meaning becomes slightly second nature, and one can find similar examples of this reality all across a number of bands that followed Foghat.

Though most are unaware, there are actually five different versions of Foghat's "Slow Ride" that one can easily find on various records. The original studio version clocks in at nearly nine minutes, and this take on the song is rarely heard, as it is a far cry from a length that radio stations will permit. With this in mind, the band edited the song down to just under four minutes for radio airplay, and this version of the song is certainly the most well known. Yet there are also a few live versions of "Slow Ride" that have been "officially" released, and all of these are longer than the original studio version, yet have an energy and drive that is just as enjoyable to experience. However, when one breaks the song down to its core elements, one can make the case that it is slightly more in the punk rock world than it is in the "hard rock" arena. The reality is that the song is based around a powerful three-chord progression, and many people argue that this style is the "basis" of the punk rock sound. When one adds in the overall crunch and drive that in many ways defines "Slow Ride," this idea is made even stronger, and yet most completely dismiss the track as anything more than a hard rock classic. Regardless of how one defines the song, there is no denying the fact that it has endured the decades far better than nearly any other song of the era, and there has rarely been another track that can compare to the sound and strut that one can find on Foghat's unforgettable 1975 single, "Slow Ride."

Daily Guru: "Something Old, Something New #29"

2011-11-29T08:09:00.001-05:00

It’s Tuesday, and that means it’s time for another dose of “Something Old, Something New” with The Daily Guru. Share and enjoy.

November 29: The Chiffons, "One Fine Day"

2011-11-29T02:04:00.068-05:00

Artist: The Chiffons
Song: "One Fine Day"
Album: One Fine Day
Year: 1963

CLICK HERE TO LISTEN (will open in new tab)

Though many people may wish to group them all together under a rather strict style, the reality is that within the sub-genre of the so-called "girl groups" of the 1960's, there was as much musical diversity as one can find anywhere else. While one can argue that there is a common sound that links them all together, one can find variations across the board in terms of tempo, intent, and power, and it is these differences that make the era one of the most exciting in all of music history. Due to the fact that there were so many different approaches within a somewhat similar configuration, one can find a number of exceptional acts, and yet few delivered with the same power and style that one can find in the catalog of The Chiffons. For more than a decade, the quartet recorded some of the most beloved songs in history, and to this day, one would be hard pressed to find another act from the time period that has been covered as often as The Chiffons. Bringing a sonic confidence that was far beyond that of nearly all of their peers, it is this distinctive sound and swagger that keeps many of their songs sounding just as fresh today as they did more than four decades ago. Though the group is responsible for a handful of the most memorable songs of all time, few can compare to the sound and resonance of The Chiffons' unforgettable 1963 single, "One Fine Day."

From the moment that the song begins, "One Fine Day" is an absolutely glorious celebration of life, and even after more than five decades, the energy and overall feeling of the song has yet to be matched. There is no question that this song stands as one of the finest in writing catalog of the team of Gerry Goffin and Carole King, and it is the latter's performance on the song that while often overlooked, is one of the keys to the appeal of the track. Truth be told, the piano riff played by Carole King that opens the song remains one of the most memorable in the entire history of music, and yet it is the way that her piano delivers what is almost an additional vocal line with the triplet-style fills with which she follows many of the lines. There is a strength and aggression within her playing on "One Fine Day" that is rarely found elsewhere, and it is this approach that helps to perfectly mirror the similar style found within the singing. Furthermore, the fact that her piano is so far forward in the mix is a rarity for any era of music, and even when the song seems to fall off tempo for a moment, the overall spirit is never lost. It is the way that "One Fine Day" seems to sway back and forth that is in many ways the epitome of the "1960's sound," and one can easily picture the song being played in an old soda shop or a sock hop, and yet the song still has a massive appeal within the current music scene.

Yet even with this fantastic, oft-copied musical style, there is no question that the true power of "One Fine Day" lives within the vocals of The Chiffons, and even amongst the wide array of "girl groups," they stand out on their own. It is the fact that the harmonies are so tightly wound all across the sound that sets "One Fine Day" as such a high standard, and it is also the overall smoothness of the vocals that become so appealing. Though there are various lead parts, all of the voices manage to seamlessly blend together in stunning fashion, and one can easily argue that one can use "One Fine Day" as the definition of what it meant to have the "girl group" sound. It is the spirit behind their vocal performances that separate the song from the pack, and one cannot help but get caught up in this dazzling vocal display. The backing "sho-be-doo-be-doo" that is repeated throughout the song has also become one of the iconic phrases from the era, and one can see this, as well as the harmonies as the clear link between the "doo-wop" sound and the pop style of the early 1960's. The final way that "One Fine Day" separates itself from a majority of songs by "girl groups" is the fact that The Chiffons are not playing the part of the "sad victim" on the song, and they bring a confident, proud sound to every word; in many ways marking one of the first instances of female empowerment on record.

As the decades have passed, "One Fine Day" has been covered countless times by artists ranging from Jackie Wilson to Natalie Merchant to Aaron Neville, and it has also been featured in well over a dozen different films. The fact that such a wide array of performers have recorded their own version of the song, as well as its consistent use within other mediums of popular culture is a testament to the overall greatness of the song, and yet none of these later versions or uses have come even remotely close to the power and presence of the original. Even when Carole King recorded her own take on the song, it was missing the swing and spirit of The Chiffons, and yet one cannot dismiss the fact that it is her piano that drives much of the original version. Furthermore, one can find influences both musically and vocally across many later artists, and it is impossible to overlook the similarities between "One Fine Day" and The Beatles', "It Won't Be Long." In fact, members of that group often stated their admiration of The Chiffons, and this is the final element one needs to solidify their place as one of the most influential groups in all of music history. Though they had a number of unforgettable hits throughout their career, there is simply no other recording of The Chiffons that has endured quite like their magnificent 1963 single, "One Fine Day."

November 28: Daily Guru, "Gurucast #100"

2011-11-28T00:03:00.003-05:00

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 commentary from "The Guru" himself.

Tracklist (links are to MY review of that artist, song, or album):
1. Minor Threat, "12XU" Complete Discography
2. The Damned, "Smash It Up, Pts 1 & 2" Machine Gun Etiquette
3. Alice In Chains, "Rooster (alt take)" Music Bank
4. Alice Cooper, "Long Way To Go" Love It To Death
5. Gogol Bordello, "I Would Never Want To Be Young Again" Gypsy Punks: Underdog World Strike
6. Generation X, "Kiss Me Deadly" Generation X
7. Björk, "Headphones" Post
8. Blonde Redhead, "In Particular" Melody Of Certain Damaged Lemons
9. The Stooges, "No Fun" The Stooges
10. Portishead, "Glory Box" Dummy
11. Goldfrapp, "Pilots" Felt Mountain
12. Grinderman, "Palaces Of Montezuma" Grinderman 2
13. Joe Strummer & The Mescelaros, "Arms Aloft" Streetcore
14. Black Flag, "Rise Above" Damaged
15. The Clash, "White Riot" The Clash (UK)

November 27: Lou Rawls, "Your Good Thing (Is About To End)"

2011-11-27T02:40:00.066-05:00

Artist: Lou Rawls
Song: "Your Good Thing (Is About To End)"
Album: The Way It Was: The Way It Is
Year: 1969

CLICK HERE TO LISTEN (will open in new tab)

While there are a number of bands and musicians that have easily perfected their own style of music, it is often those elite performers that are able to excel across a wide range of genres who are held in the most highly revered status. Whether it is due to their seemingly unending talents on a specific instrument or the way that they can use their own voice, these few performers stand as true legends even as the decades pass and the trends in music change. Though he can be argued as one of the finest in the history of soul, r&b, jazz, and even pop music, the fact of the matter is that there is no way to easily define the music of Lou Rawls, and that in itself is much of the reason he stands as such a legendary figure in the history of recorded music. For more than four decades, Rawls brought some of the most raw and highly emotive sound one can find anywhere, and it is the fact that his voice and style seemed to know no boundaries that set him so far apart from his peers. Whether he was swinging a gritty tale of the streets or delivering a smooth crooning ballad, there is never any mistaking his voice or style, and his extensive catalog is filled with some of the most unforgettable songs in all of music history. While there are many highlights throughout the career of Lou Rawls, few songs better present all of his strengths than what one can hear on his fantastic 1969 single, "Your Good Thing (Is About To End)."

In many ways, the music that backs all of "Your Good Thing (Is About To End)" is as difficult to define as Rawls' vocals in that they clearly pull from a number of different styles. As the first notes descend from the record, the piano suggests that this will be a slow, almost jazz-like song, and yet there is almost instantly a tension that is present. Along with this tension, one can almost "feel" the smoke in the room, and "Your Good Thing (Is About To End)" quickly becomes a very intimate musical experience. It is the way that the song slowly sways back and forth, completely captivating the listener, before almost overflowing with emotion as the horns build that makes this song stand out from the rest of Lou Rawls' catalog. There are times when the piano has an almost saloon-style sound, and the quick, repeating guitar riff has an unexpectedly funky groove, adding another influence on the overall musical construction. In reality, there has simply never been another song that brought the slow-burning, funk-filled soul like what can be experienced on "Your Good Thing (Is About To End)," and yet in some ways, this is slightly less surprising when one notes that the music was arranged by the legendary Isaac Hayes along with David Porter. Yet it is the way that the musicians execute this interpretation of the song which allows the true genius of the composition to be felt, and it is impossible to not be completely caught up in the amazing mood.

However, while the music all throughout "Your Good Thing (Is About To End)" is fantastic in a way all its own, there is no arguing that it is the uniquely beautiful voice of Lou Rawls that makes this, like each of his songs, beyond the ability of nearly any other performer in history. Much of the appeal of Lou Rawls comes from the fact that his vocal range seems to truly have no limit, as he is able to seamlessly jump from deep lower notes to the upper registers without ever breaking the mood for flow of the song. There is a constant power within his singing that is impossible to ignore, and it is this element, combined with the massive amount of emotion that he injects into every phrase which has turned him into the legend that he remains to this day. All across "Your Good Thing (Is About To End)," Rawls is at his finest, as the powerful cry he brings to every line is able to perfectly match the powerful swinging groove of the music. The way that Rawls is able to spin the track into a song of warning to his lover, yet seem somehow vulnerable is one of the most amazing aspects of the entire song, and in many ways, once one hears Rawls' performance here, every other soul singer in history is quickly put into perspective. Whether it is due to the absolutely perfect singing or the superb level of emotion in every word, there is simply no other song in history that can even remotely compare to Lou Rawls on "Your Good Thing (Is About To End)."

Though many are unaware, the Lou Rawls version of "Your Good Thing (Is About To End)" is not the original, and many later recordings would come from a wide range of artists. The song was originally recorded by Mable John a few years before the Rawls version, and while it had moderate sales, it pales in compassion to the success of Lou Rawls' recording. Over the decades that have passed since this release, everyone from Bonnie Raitt to The Bar-Kays to Boz Scaggs has re-recorded "Your Good Thing (Is About To End)" in their own way, and yet none have been able to come close to the emotion and sheer musical beauty found on Lou Rawls' rendition. In many ways, it is the fact that this version is able to retain the gritty side of soul music, yet come off as far smoother and almost more intelligent in sound that sets it apart from other music of the era; and one can easily see this as one of the most important shifts in recording style. In fact, following Rawls' release of "Your Good Thing (Is About To End)," there were a number of new styles of soul that began to emerge, and one can see almost all of them as taking a large part of their sound from this song, as well as a number of other parts of the Rawls' catalog. The way that this powerful, yet inviting voice conveys such a strong and wide array of emotions was what made Lou Rawls the icon that he remains to this day, and he rarely sounded better than on his 1969 single, "Your Good Thing (Is About To End)."

November 26: Béla Fleck & The Flecktones, "The Sinister Minister"

2011-11-26T02:37:00.079-05:00

Artist: Béla Fleck & The Flecktones
Song: "The Sinister Minister"
Album: Béla Fleck & The Flecktones
Year: 1990

CLICK HERE TO LISTEN (will open in new tab)

Though it is a rare occurrence, when an artist is able to bring a non-tradiational instrument in as the lead sound in any form of music, the results are almost always worth hearing. If the artist in question is also a brilliant composer, and has an unparalleled understanding of countless forms of music, the sounds they create will quickly gain widespread accolades and attention. Of course, if that artist is also able to surround themselves with musicians of equal or greater talent, the group in question will certainly take on a musical definition all their own, and this is exactly the case with Béla Fleck & The Flecktones. For the better part of three decades, the group has been recording and releasing some of the most uniquely amazing music in all of history, an yet few can argue that there is another group in history that has remained as musically undefinable. Incorporating everything from electronica to jazz to classical to bluegrass to funk and countless other genres in their music, Béla Fleck & The Flecktones manage to continually reinvent themselves, whilst keeping a core sound that one must experience firsthand to properly appreciate. Due to their extensive recorded catalog, as well as the unrivaled level of musicianship within the band members, it is impossible to point to a single song as their "best," and yet one can understand why so many hold Béla Fleck & The Flecktones in such hugh regard by hearing their phenomenal 1990 song, "The Sinister Minister."

Few will argue that among every band from every genre of the past thirty years, that there are many, if any, that can even remotely compare to the talent of the rhythm section of The Flecktones. Furthermore, there are very few bassists from any point in history that can rival the talent and creativity of Victor Wooten, and it is his brilliant playing that kicks off "The Sinister Minister." It is the unique way that Victor Wooten is able to create so much emotion and feeling with an almost minimalist musical approach that makes his sound so distinctive, and it is also the fact that he seems to be simultaneously pulling from multiple "schools" of bass theory. Though he brings a funky groove that is far beyond that of any of his peers, it is the way that he creates jazz-like solos throughout "The Sinister Minister," enabling his bassline to become far more than "just" an interpretation of the rhythm. Yet it is also the way that his sound interacts with that of The Flecktones' "drummer," his brother, Roy "Future Man" Wooten." The sound of the drums all across the catalog of Béla Fleck & The Flecktones are completely distinctive, and this is due to the fact that Future Man plays a custom "synth-axe/drumitar," allowing for the rhythms and tempos to expand in an almost infinite level. Yet it is the smooth, almost hypnotic mood that Future Man lays under each song which makes them all the more intriguing, and this completely unique sound only adds to the overall undefinable appeal of Béla Fleck & The Flecktones.

However, the other two musicians that comprise Béla Fleck & The Flecktones are without question equally as important and as talented as the rhythm section, and it is the fact that there is so much skill and passion within the playing that vaults "The Sinister Minister" so such heights. Handling a number of different instruments on the track, it is the harmonica from Howard Levy that stands out the most on this song. The way that he slides around the other instruments lends an almost blues-like feel to "The Sinister Minster," and yet it also serves as the ideal balance between the deep bass groove from Wooten and the higher-octave brilliance of the groups' namesake. Few can argue that there is any other living banjo player that even comes close to the sheer talent of Béla Fleck, and yet it is his endless creativity that has given the instrument an appeal far beyond that of the almost stereotypical audiences one might assume. Both in speed and feeling, his performance all across "The Sinister Minister" is one of his finest, as he shows the impact he can create from brilliantly constructed finger-picked progressions just as much as the more melodic, chord based moments. It is this diversity in ability, as well as the outright unique sound that the banjo creates that makes "The Sinister Minster" so fantastic, as well as defining the wonderfully distinctive arrangements that make up the groups' recorded catalog.

Truth be told, if one were to attempt to "force" Béla Fleck & The Flecktones into any category, perhaps the most understandable would be that of jazz, as the group is more than willing to "take turns" and let the other members have their time to solo. It is this unselfish approach that leads to all of the songs from Béla Fleck & The Flecktones becoming so fantastic, and yet it is the seamless manner with which the lead is passed throughout "The Sinister Minister" that sets it further apart from the rest of the bands' catalog. In fact, it would be a live recording of this song that would garner the group a Grammy Award in 1997 for "Best Pop Instrumental Performance." When one considers that Béla Fleck & The Flecktones were given any award containing the term "pop" almost forces the fact that in the end, the compositions that the group creates have an appeal that creates its own boundaries, as opposed to pushing through any that had been previously put into place. That is to say, regardless of ones' personal musical preference, it is the absolutely individual sound and approach that one can find within the music of Béla Fleck & The Flecktones that allows them to pull legions of fans from across the musical spectrum, and this in turn is why one can find so much diversity within their music. While there is rarely an "off" moment on any of their albums, one can easily argue that Béla Fleck & The Flecktones have rarely sounded better than what one can hear on their 1990 song, "The Sinister Minister."

November 25: Ike & Tina Turner, "Proud Mary"

2011-11-25T02:40:00.079-05:00

Artist: Ike & Tina Turner
Song: "Proud Mary"
Album: Workin' Together
Year: 1971

CLICK HERE TO LISTEN (will open in new tab)

Throughout the long history of recorded music, there are a handful of names that regardless of the generation or musical preference, stand as iconic. Simply due to their massive impact on the world of music in general, these names have managed to transcend such boundaries, and they are almost more historical in nature than being strictly related to "only" the world of music. While some of these names have faded a bit over the years, there is no question that the names of Ike and Tina Turner command as much respect and reverence today as they did during the peak of their popularity well over three decades ago. Though both of them certainly made names for themselves as solo artists, it was much of the work that they did as a team that made them the legends that they remain to this day, and all across the 1960's and 1970's, one can find examples of their amazing energy and musical talents, and few artists from any era can even remotely compare to the sound they created. However, it was after they had been established for a number of years that the duo went after what is one of their most memorable recordings, as they attempted to make a cover that would outshine the original. Though this is without question one of the more difficult things one can attempt within the world of music, one would be hard pressed to say Ike and Tina Turner did not succeed with anything less than massive success with their 1971 take on the now-classic song, "Proud Mary."

In many ways, it is almost impossible to remember a time when this version of "Proud Mary" did not exist, and yet the reality is that the "original" take had been released only two years earlier by Creedence Clearwater Revival. Truth be told, the Ike and Tina Turner version of this song is a pefect representation of everything that made them such a legendary pairing, as the song begins with one of the slowest, deepest grooves that has ever been recorded. The way that "Proud Mary" seems to slowly bounce along enables an amazing amount of tension to be created, and it is the way that this tension gives way which pushed the track to truly a legendary status. It is in fact the second half of the orchestration composed by Ike Turner almost completely buries the original version, as the energy and sonic arrangement is far beyond that of nearly every other recording in the entire history of music. If there was ever a song that one could claim "explodes off of the record," then this is it, as the moment that the band kicks in (following the deep grooving first half), it is impossible to not be completely drawn into the excitement and all out feeling of a party. The energy never lets up for even a moment, and it is the way that the horns combine with the bass and array of other sounds which almost instantly creates a sound and presence that defies description and to this day has not been equaled in any sense of the word.

When one combines this sensational sonic arrangement with the absolutely unmistakable voice of Tina Turner, it is almost impossible for the results to be anything less than stellar, and one can easily argue that it is this performance which defines her entire career. Much like the musical arrangement shows both sides of the talent of Ike Turner, it is within the vocal performance which displays the equally impressive sides of Tina Turner's voice. Throughout the first part of "Proud Mary," Tina shows the absolutely blissful, soul-styled growl that set her so far apart from her peers, and it is the soft beauty within this portion of the song which helps to heighten the mood, as well as appease the fans of much of her early work. However, much like the music of the second half of "Proud Mary" is the highlight, the same can be said of Tina's vocal performance, as she removes any limits or apprehension and allows her voice to soar as it wishes, often reaching never before heard heights. The power that comes through as she borders on shouting is in many ways everything that makes the "art" of singing so fantastic, as one can feel and hear the sheer joy within her performance, and this vitality and affirmation of life never loses any of its impact even after repeated listenings. This ability to "never get old" is what cements the place of both the song and vocal performance as the finest in all of music history, and there is never any mistaking this extraordinary moment that has never been equaled.

In reality, one can count the number of cover songs that have out-done the original on a single hand. This is without question one of the most rare occurrences in recorded music, and the fact that Ike and Tina Turner were able to succeed in this task, especially given the short time following the original, is a testament to their exceptional talents, as well as their unique musical style. It is the reality that the song has such contrasting parts, yet manages to work perfectly as a single piece that makes "Proud Mary" all the more impressive, and though many other artists have attempted to copy this musical formula, none have come even remotely close to the sound and power found here. Whether it is the way that the horns seem to create an intoxicating second vocal line, or the loose, walking bassline, the music that runs though manages to display everything that is great about rock and soul music, and there is simply no parallel from any other period in music history. When one combines this with the iconic vocal performance from Tina Turner, the song is quickly vaulted to a level rarely achieved, and in many ways, this rendition of "Proud Mary" defies any sort of musical classification. The fact of the matter is, regardless of ones' age or musical preference, the power and presence on this track are impossible to ignore, and it is this reality that has turned Ike and Tina Turner's 1971 cover of "Proud Mary" into one of the greatest songs in the entire history of recorded music.

Daily Guru: "Something Old, Something New #28"

2011-11-24T08:45:00.001-05:00

Thursday means another dose of “Something Old, Something New” with yours truly. Share and enjoy!

November 24: MC Lyte, "Cha Cha Cha"

2011-11-24T01:01:00.082-05:00

Artist: MC Lyte
Song: "Cha Cha Cha"
Album: Eyes On This
Year: 1989

CLICK HERE TO LISTEN (will open in new tab)

Though many will try and deny the reality of the idea, when one looks all across the entire history of recorded music, there is simply no arguing that regardless of the era or genre in question, every musical form has been dominated by male performers. This is not to say that no females were present, but the overall numbers are extremely out of balance, and there is no other genre where this is more obvious than within the world of hip-hop music. For more than three decades, the style has been overpowered by male emcees and DJ's, and a majority of the female performers simply do not receive the same accolades and respect as their male counterparts. However, along this same time-line, few can argue that the handful of female emcees that have been given their due have been anything less than spectacular, and there are few emcees from any era that can compare to the style and sound of MC Lyte. In fact, it was MC Lyte that made it a point to quite often show this inequality as well as the rampant misogyny within the world of hip-hop, and here first few solo albums are both lyrically devastating, as well as absolutely flawless in every other element of the music. Due to this reality, there is no question that MC Lyte stands as one of the most important figures in all of hip-hop history, and she was rarely better than what one can find on her phenomenal 1989 single, "Cha Cha Cha."

While the performance from MC Lyte on "Cha Cha Cha" is certainly something beyond fantastic, one must also give ample credit to the music and beats over which she rhymes, as they themselves are of equal quality and timeless in nature. Though many may not be aware of the song itself, the combination of samples and beats that comprise the music to "Cha Cha Cha" have become absolutely legendary, and have been reused over the years that followed the release of the song. Yet it is the choice of sample that sets the track far apart from most other songs in hip-hop, as the core music used on "Cha Cha Cha" is actually taken from Kraftwerk's, "The Man Machine." It almost goes without saying that pulling from the catalog of a group like this was a rarity within the world of hip-hop, and this shows the wide range of musical knowledge within DJ K-Rock. It is the way that he is able to take this non-traditional sample and make it work perfectly within a hip-hop sound that shows his exceptional level of talent, as the beats and scratches that he deploys over the sample quickly turn "Cha Cha Cha" into an absolute hip-hop classic. In fact, one can easily make the argument that it was due to this unexpected musical style that the song was able to cross into other styles, and it quickly rose to the top of the rap charts, almost instantly cementing its place as a classic of hip-hop music.

However, even though this sound was uniquely intriguing, the fact remains that the power and presence of "Cha Cha Cha" comes from the dazzling display of skills and sound that comes from MC Lyte herself. In almost every aspect, MC Lyte is completely distinctive, and it all begins with the amazing calm control that she brings to her rhyming style. There is never a moment where her vocals sound the least bit forced, and it is the natural, focused delivery that makes her songs all the more captivating. The clarity within her rhyming also set her far apart from her peers, as it is clear that each word she brings is as important as any other, and the messages within her songs cannot be missed. To this end, while MC Lyte often went after issues of misogyny and injustice within her rhymes, on "Cha Cha Cha," she shows that she can bring the ego and battle style as perfectly as any other emcee. There is a drive and strength within every word she speaks on the track, and there is no question that had they not been impressed by her earlier efforts, "Cha Cha Cha" certainly left any doubters with no choice but to hail her as one of the greatest emcees of her era. The way that she flips her words and creates such powerful images remains one of the cornerstones of the world of hip-hop, and serves as enduring proof that females are just as capable at bringing devastating lyrical prowess as any of their male counterparts.

As the decades have passed, the name of MC Lyte has become one of the most highly respected in the entire history of hip-hop, as she remains one of the most pivotal figures in the rise of females within the genre, as well as the overall development of the style in general. The way that she seems to so effortlessly drop her brilliantly complex rhymes is without question as good as one can find anywhere in the history of the genre, and in many ways, the fact that she is a female quickly becomes unimportant. It is the power within each line she rhymes, as well as the fantastic word-play that she presents which quickly draws in the listener, and the fact that her style is so raw and authentic vaults her far beyond nearly any other performer of her era. Yet it is also the seamless way that she blends her sound with the music over which she performs and the DJ work of K-Rock that sets songs like "Cha Cha Cha" far beyond the efforts of others, as she avoids the disjointed sound that one can find on many of the other "big hits" from the early years of hip-hop music. It is this complete package and absolutely perfect deployment of every element that can be seen as one of the trademarks of the sound of MC Lyte, and she rarely sounded as good as what one can experience on her superb 1989 single, "Cha Cha Cha."

Daily Guru: "Ask The Guru #01"

2011-11-23T08:45:00.000-05:00

In today's special edition of The Daily Guru on YouTube, I answer questions sent in by viewers. Share and enjoy.

November 23: The Crystals, "Da Doo Ron Ron"

2011-11-23T01:45:00.079-05:00

Artist: The Crystals
Song: "Da Doo Ron Ron"
Album: Da Doo Ron Ron (single)
Year: 1963

CLICK HERE TO LISTEN (will open in new tab)

Though many may wish to believe that it is some musical element which links them all together, the fact of the matter is that the true definition of "rock and roll" lives within a certain spirit in the music in question, and it is this tone which enables one to place the more modern style of rock music on the same plane as the earliest vestiges of the sound more than half a century ago. Furthermore, once one eliminates the actual musical contrstruct for purposes of definition, one can see the way that the rock and roll attitude manifested itself within countless other parts of music, and it is impossible to deny the strong links to the style within what many critics classified as the so-called "girl group" sound. While some such acts were more restrained, if not quieter, there were a number of female-led groups that took a far more aggressive and "fun" approach, and few were equal in any aspect to the power and presence of The Crystals. Recording some of the most well-known hits of the era, one can easily make the case that before the "British Invasion," The Crystals represented everything that was great about the American style of rock music. Though they had a number of massively successful songs throughout their career, there may be no better a definition of The Crystals' unique sounds than in their fantastic 1963 single, "Da Doo Ron Ron."

From the moment that "Da Doo Ron Ron" begins, it is clear that the song will be a far cry from a majority of the "girl group" sounds of that era, as there is an edge and swing from the onset that quickly captivates the listener. It is the blurted horn which opens the song, quickly giving way to one of the most infectious rhythms ever recorded that makes the song so enjoyable, and one can easily imagine how "Da Doo Ron Ron" would have lit up any party at the time. The way that the sound seems to burst forth from every angle represents some of the finest work in the history of Phil Spector's "wall of sound" style, and it is the way that he is able to perfectly blend together the big band horn sound with the rockabilly piano and the flawless vocals that makes this such a wonderfully unique moment in music history. "Da Doo Ron Ron" quickly takes on a brilliant swing, and in many ways, it is songs like this that are able to transport the listener back to the time during which it was released, as the authenticity and purity of the music is nothing short of perfect. The stomp that runs throughout the song would be used by countless similar groups in the years that followed, and it is due to the aggressive sound and tone of the song that makes it easy to argue that not only was "Da Doo Ron Ron" a brilliant single, but also a clear turning point in the way that pop songs were orchestrated.

While one cannot overlook the power and historical significance of the musical arrangement found here, there is no question that the focus of the song is on the absolutely phenomenal vocals from The Crystals. Though by this point in their career, they had gone through a few different configurations, "Da Doo Ron Ron" features the lead voice of Dolores "LaLa" Brooks. Truth be told, Darlene Love had originally recorded a lead vocal for this song, but in the end, Spector used the Brooks take, and once one hears the song, it is impossible to consider any other voice being as perfect within this setting. There is a grit and strut to Brooks' singing that was a bit more aggressive than most other "girl group" songs, and yet it is also this aspect that would strengthen the role of females within the world of music. The fact that she is able to inject this sense of power into the song, whilst still bringing a vocal that is as "classic" as any other sets "Da Doo Ron Ron" further apart from other songs of the era, and it is this combination that has played a large role in the songs' perseverance over the decades. However, it is also the way that Brooks' voice blends so perfectly with the rest of the group, and the ringing resonance of their harmonies is without question one of the most outright enjoyable sounds to ever be captured on tape.

All throughout this era in music history, there were countless combinations of "girl groups" that were pushing the idea of popular music into many different styles. Whether it was the way that some incorporated the "doo-wop" sound, the softer, jazzy tones, or the more soulful blues numbers, there is no question that the existence of this musical movement was one of the most vital in the development of nearly every style of music. However, most tend to overlook the contributions to rock and roll that this era produced, as it would quickly be overshadowed by the musical occurrences throughout 1964. Yet in retrospect, one cannot deny just how important these transitional years were, as it was acts like The Crystals that were able to take the sounds to rockabilly and give them a new, modern flare. The way that the group were able to so perfectly match the attitude within their vocals to the slightly aggressive, swinging sound of the music over which they sang remains one of the most beautiful and mesmerizing moments in the entire history of music, and it is this combination that set The Crystals far apart from every other group with a similar label. The fact that The Crystals had so many different configurations leads to the group having a number of diverse sounds within their singles, and yet there is no question that on every level, the group was at the finest for their magnificent 1963 single, "Da Doo Ron Ron."

Daily Guru: "Something Old, Something New #27"

2011-11-22T04:41:00.001-05:00

It’s Tuesday, and that means it’s time for another dose of “Something Old, Something New” with The Daily Guru. Share and enjoy.

November 22: Townes Van Zandt, "No Place To Fall"

2011-11-22T02:12:00.107-05:00

Artist: Townes Van Zandt
Song: "No Place To Fall"
Album: Flyin' Shoes
Year: 1978

CLICK HERE TO LISTEN (will open in new tab)

While one cannot exactly fault a certain musician or band for attaining a level of fame, there is no question that in many cases, the truly talented and inspiring musicians often go their entire careers without achieving these more commercially measured heights. However, it is within this reality that one can also make the case that without the "trappings" of widespread fame or time under massive spotlight, an artist is able to be far more honest and true to their work, and this in turn often results in some of the most beautiful and powerful music the world has ever known. One can see this as why for many bands, their first record is their strongest, as it represents their sound in its most pure form, and yet even though he made music for more than three decades, this sense of purity and beauty was never lost in the music of Townes Van Zandt. It is once one looks at his long career where the argument can easily be made that to this day, Van Zandt receives little of credit he so clearly deserves, as regardless of what ones' personal musical preference may be, the songs he recorded easily cut through and hit at the most human level that one can imagine. All across his recorded catalog, there are songs that have become standards within many different genres, and yet one would be hard pressed to find a more definitive and outright moving song from any point in history than what can be experienced on Townes Van Zandt's soulful 1978 ballad, "No Place To Fall."

As "No Place To Fall" begins, one can hear the almost classic sounds of country music, and get at the same time, there is a tone and a mood to the song that reaches far beyond such a singular classification. The somber, rhythmic strumming of the lone acoustic guitar almost instantly gives one the feeling of a cowboy sitting alone by a campfire, and get the same time, when can the just as easily picture the song being played in a quiet apartment building in the middle of a huge city. As this solitary sound softly blends with the slide guitar, the interplay between the two becomes the very definition of the power and beauty that music can achieve when it is created from the heart. Not far into the songs' introduction, of third guitar enters, and is a way that each of these guitars follows its own path throughout the song that makes "No Place To Fall" such a special musical experience. It is the moment when the bass guitar joins the mix one can fully grasp the phenomenal mood that Townes Van Zandt has orchestrated, and there is a fragile, almost delicate feel to the arrangement that simultaneously gives a nod to the classic country-western sound, whilst keeping a uniquely modern tone. The light drumming that finishes off the sonic structure gives just enough of a pace and rhythm to the song to keep it moving forward, and yet it is the slow burning overall atmosphere that sets "No Place To Fall" so far apart from every other recording in the entire history of music.

However, while one cannot overstate the amazing mood that is set forth by the music, is the equally intriguing vocals of Townes Van Zandt that vault "No Place To Fall" to a height that has rarely been reached. It is the gentle, almost simple honesty within the voice of Van Zandt that almost effortlessly crosses through any musical boundary, and his singing is all the proof one needs to understand the power of real musical talent. Even at the moments were most artists would have gone back and re-recorded, Van Zandt stays true to his sound, entities these almost "faulted" points throughout the song that are in many ways the trademark of Townes Van Zandt. There is a calm, gentle, and welcoming tone within every word that Van Zandt sings, and one cannot help but be completely drawn in by his voice. Yet is also the almost brutally honest lyrics which he sings that makes "No Place To Fall" such a phenomenal musical experience, and while he had already proven his ability in this arena on his previous releases, one can easily make the argument that "No Place To Fall" is the finest lyric of his entire career. Again, is a level of absolute honesty and the almost "plain" manner with which he describes these feelings that makes the song all the more intriguing, and this stands as one of the few songs in music history that once heard can never be forgotten.

Truth be told, "No Place To Fall" actually first appeared on Van Zandt's live album that was released a year previous, and yet it is the quiet, almost meditative tone that comes through the studio version that makes it far superior. In the years that followed the release of "No Place To Fall" a handful of cover versions emerged, and yet none were able to capture the mood and overall sonic beauty that one can experience on the original. Even in recent years, The Little Willies recorded their own version of the song, and while it is certainly fantastic in its own right, there is no question that there's some intangible element still missing. It is with this in mind that one can make the argument that the "missing element" is the soul and spirit of Townes Van Zandt, as once when here's the rest of his recorded catalog is quite clear that he was a musician beyond the ability of nearly any other. A large number of his original songs have been recorded by other artists and made famous, and yet he himself has remained comparatively unknown. Yet one can theorize after hearing the sound mood of his songs that perhaps this unintentional anonymity was exactly what Townes Van Zandt wanted, is allowed him to stay true to his songs and words for his entire career. Though there are certainly a number of songs in the history of music which one can label as "beautiful," none come even remotely close to the way that that word fits Townes Van Zandt's absolutely blissful 1978 song, "No Place To Fall."

November 21: Daily Guru, "Gurucast #99"

2011-11-21T00:12:00.003-05:00

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 commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song, or album):
1. Vic Ruggiero, "Vacant Stare" Something In My Blindspot
2. Soccer Team, "Letter To Saint Thomas Aquinas" 3 Song 7"
3. Captain Beyond, "Mesmerization Eclipse" Captain Beyond
4. Reflection Eternal, "Good Mourning" Reflection Eternal
5. The Evens, "Timothy Wright" 2 Song 7"
6. Goldfinger, "Miles Away" Goldfinger
7. Bob Marley & The Wailers, "Trenchtown Rock (Alt Mix)" Songs Of Freedom
8. Blue Daisy, "Shadow Assassins" The Sunday Gift
9. The Blasters, "Real Rock Drive" American Music
10. The Clash, "I'm Not Down" London Calling
11. Mick Harvey, "October Boy" Sketches From The Book Of The Dead
12. The Doors, "Little Red Rooster" In Concert
13. The XX, "VCR" XX
14. Fun Things, "(I Ain't Got) Time Enough For Love" Murder Punk: Volume 2
15. Belly, "Witch" Star
16. Paul Simon, "Loves Me Like A Rock (acoustic demo)" There Goes Rhymin' Simon

November 20: The Four Seasons, "Big Girls Don't Cry"

2011-11-20T03:48:00.089-05:00

Artist: The Four Seasons
Song: "Big Girls Don't Cry"
Album: Big Girls Don't Cry (single)
Year: 1962

CLICK HERE TO LISTEN (will open in new tab)

Though it has become somewhat "glossed over" due to the massive dominance of a certain band that began taking over the world in 1964, the reality is that the first few years of the 1960's yielded some of the most impressive and unique music in all of history. As jazz and the "doo-wop" sound began to give way to the more rock-based pop style, it was the fusions of these approaches which breathed an entirely new life into the world of music. It seemed that almost every month, a new take on these styles was emerging, and it was often when the "doo-wop" sound took on a more modern flare that the finest and most unforgettable moments of these years occurred. To this end, while they would (like other bands of the era) become overshadowed by the aforementioned British band, there were few acts of the entire 1960's that were as successful in every sense of the word as The Four Seasons. Combining some of the most impressive singing talents with a vocal range that has never been matched, the group rattled off a staggering number of hit singles throughout the 1960's, with more than a dozen finding their way into the top ten, including a handful of number one singles. Due to this massive success, it is nearly impossible to choose just one as their definitive recording; and yet one can argue that everything that made The Four Seasons into the legends that they remain to this day can be heard on their iconic 1962 single, "Big Girls Don't Cry."

In many ways, the music that backs the singers on "Big Girls Don't Cry" is as definitive of the era as one can find anywhere. Though it is rather simplistic in its arrangement and structure, there is no question that this song is all about the spirit that burst forth from the playing. Each musician is clearly enjoying the job they are doing that day, and this mood enables "Big Girls Don't Cry" to quickly become nothing short of completely captivating. The reality is the majority of the allure of this song comes from the multiple rhythms that are being simultaneously played on different instruments ranging from standard drum kits to simple hand claps. It is the way that these sounds interact with one another, along with the fantastic and unique rhythm from the piano that helps to give "Big Girls Don't Cry" a sounding presence unlike any other song recorded history. There is a sway and a groove that persists throughout the entire song that makes it almost impossible not to dance along, and it is due to this rhythm and groove that makes it understandable why the song was such a massive success almost instantly upon release. Furthermore, this pure and almost organic musical approach has enabled the song to easily weather the decades, and it stands as one of the most unforgettable and truly perfect songs ever recorded.

However, it almost goes without saying that while the musical arrangement found on "Big Girls Don't Cry" is nothing short of perfect, it is the vocal performance by each member of The Four Seasons that turns the song into a truly iconic moment in history. While one cannot write-off the singing of the other members of the group, it is the now-legendary lead vocals from Frankie Valli that truly stand out. It is the way that he seems to almost have two voices on the song that makes it so significant, and one would be hard-pressed to find another singer of any era that can come even remotely close to this sonic diversity. From the slightly gritty, perhaps edgy sounds on the verses, to what has perhaps become his trademark "cry" at the end of each line, there is no question that "Big Girls Don't Cry" remains one of the most stunning vocal performances in history. However, due to the significance of Valli's singing found here, most people tend to overlook the rather interesting lyrical content of the song. Though at first glance it may seem like a "standard" song of teenage love and longing, the reality is that "Big Girls Don't Cry" takes a rather unusual spin, as the protagonist's plan goes awry quickly when his love has no problem accepting his request for breakup. In many ways, one can see this as a nod to what would become known as "girl power," and yet due to Frankie Valli's absolutely stunning performance, this aspect goes missed amongst most listeners.

In many ways, the overall success of "Big Girls Don't Cry" is slightly less surprising in retrospect when one considers that only two months earlier, The Four Seasons had managed their first number one single with, "Sherry." Truth be told, "Big Girls Don't Cry" was actually recorded during the same sessions as "Sherry," and this is much the reason that one can hear a number of similarities between the two songs. However, there is no question that "Big Girls Don't Cry" easily stands on its own, and it would be the song that would largely define the group for the remainder of their exceptionally lengthy career. Furthermore, "Big Girls Don't Cry" would make a number of appearances throughout various forms of popular culture, perhaps most memorably when it was performed by the legendary Lucille Ball and Vivian Vance on I Love Lucy. In more recent years, "Big Girls Don't Cry" has been covered by everyone from Big Bird to some rather odd takes by punk rock bands, and this in itself shows the massive range of impact that the song has had in terms of both genre as well as generations. Whether it is due to the adjustable musical arrangement, or the absolutely unforgettable vocal performance by the entire group, there's simply no arguing the historical significance and outright musical perfection that one can experience all across The Four Seasons' magnificent 1962 single, "Big Girls Don't Cry."

November 19: Art Pepper, "Straight Life"

2011-11-19T03:10:00.079-05:00

Artist: Art Pepper
Song: "Straight Life"
Album: Art Pepper Meets The Rhythm Section
Year: 1957

CLICK HERE TO LISTEN (will open in new tab)

Regardless of the era or style of music in which a performer plays, there is no question that one of the most difficult things to overcome is in the ability to make your sound unique within the genre that you play. Whether it is a guitarist trying to create a distinctive tone or approach or a singer attempting to have an individual sound or tone, it is this element which separates the true giants of music from the rest of the pack. Though this has never been an easy task, one can make the case that it was at its most difficult within the world of jazz during the mid-to-late 1950's, as the true legends of almost every instrument were in their prime, and it was nearly impossible to not be labeled as a "knock off" of one of these performers. In the world of saxophone playing, it seemed almost unthinkable to escape the shadow of Charlie Parker, and yet it was his ability to do just this, as well as compose some of the most stunning movements in music history which cemented the legend of Art Pepper. Taking an approach that was far more emotive and often more intense than almost any of his peers, Pepper stands today as one of the more easily recognized sounds on record, and there is no question that he reached his creative apex on his 1957 release, Art Pepper Meets The Rhythm Section. Standing as absolute jazz perfection from end to end, Art Pepper rarely sounded better than on the albums' high-point, the superb recording, "Straight Life."

To garner an album title as one finds here, it is safe to assume that the rhythm section found on the album holds some sort of significance, and in many ways, this is a massive understatement. The players found backing Art Pepper all across the album are none other than Red Garland, Paul Chambers, and "Philly" Joe Jones, the trio were best known as the backing team behind the one and only Miles Davis. Taking this into account, one would have rather high standards for such a recording, and it is on "Straight Life" where the quartet completely solidify as a single unit. The bass from Chambers stands as one of the finest moments of his entire career, as he brings a loose freedom that is rarely heard elsewhere, and one can almost feel the sheer enjoyment coming through in his notes. There is a tight pattern between his sound and that of Jones' drums, which seem to truly be in a world of their own, and it is often the way that he uses his cymbals which prove the most exciting on the track. It is this style and sound that Jones would also bring to later works with his previous band leader, and in many ways, one can see all three members of the backing band finding new ways to develop their own sound. Red Garland works as a fantastic contrast to Pepper's main lines, and it is within Garland's performance where one can hear and appreciate just how tightly the band worked as a single unit.

However, even though each of the backing members are given their own place to solo and shine, it is the performance on alto saxophone from Art Pepper that stands as the most amazing aspect of the entire song. Throughout "Straight Life," Pepper plays with an almost dizzying speed, and yet it is the precision with which he hits every note that stands as so stunning. At some points, Pepper is playing so fast that it almost seems as if he is pressing his band-mates to see if they can keep up, and yet he never loses focus of the main theme, or sacrificial any quality in this apparent pursuit of his maximum tempo. In fact, as "Straight Life" progresses, Art Pepper seems to be increasing his playing speed, and one can almost feel the song as having three different "gears," as he shifts faster with the end of each elongated phrase. It is the way that the blazing speed of Pepper's playing seems to contrast with the almost laid-back "cool" of the rest of the band that makes "Straight Life" such a significant moment in music history, as there are few other recordings from any point that so perfectly present not only the differences in the main schools of jazz at the time, but also how brilliant they could sound when they were properly combined. At every turn, Art Pepper seems to have a new musical idea to explore, and it is this upbeat, passionate approach which makes "Straight Life" the highlight on an album that is absolutely flawless.

Yet along with the phenomenal musical performances given by all four performers on this track, it is the oft-debated realities surrounding these sessions which make these musical achievements all the more impressive. As the legend goes, Art Pepper was not made aware of the actual recording session until the morning of the day that they occurred, and until he walked into the studio, he had never met any of the other three musicians. It is also said that the saxophone that he brought to the session was in a state of disrepair, and he was also battling a significant drug problem at the time. While much of this has been debated over the years, the reality that the four had never met has rarely been questioned, and this in itself makes the resulting music almost unfathomable. There is a chemistry between the quartet of players that is far beyond that of many groups that had played together for years, and this is a testament to the exceptional level of talent within each musician. Yet one can also see this reality as the result of the "theory" with which Art Pepper always played, as he made a point that music was more about passion and emotion than "notes on a page." Due to this, one can infer that there was a unique freedom and level of enjoyment during the recording session, and one can hear and understand how this yielded uniquely brilliant results in Art Pepper's most impressive musical moment; 1957's "Straight Life."