March 15: Brian Eno, "Baby's On Fire"

Artist: Brian Eno
Song: "Baby's On Fire"
Album: Here Come The Warm Jets
Year: 1974


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Though it is used in reference to almost every performer that has ever recorded anything, the term "artist" should really be reserved for only a select few musicians who truly embody such a term.  While anyone can create sound, to properly craft it into something beautiful and thought and emotion provoking, this is the true work of the artist.  Furthermore, having some range of diversity, and making it clear that there is no fear within experimentation, one can narrow those worthy of such a title down to a small handful, and their names remain the most highly respected in all of music history.  Whether he was a frontman, side-man, producer, innovator, or any other term that could have been fitting at some point in his career, the term "artist" has rarely been more appropriate than when one refers to the pioneering and massively influential Brian Eno.  From his stint as a part of Roxy Music to his years as one of the most influential producers in history, the range of sound and style within his recorded catalog is truly second to none, and yet it is within his solo recordings that one can experience his most mind-blowing work.  Fusing together countless styles and successfully creating something entirely new, there are few words that can accurately describe his brilliant 1974 solo debut, Here Come The Warm Jets.  Filled with a completely unique blend of musical mayhem that manages to have a pop appeal, there are few songs that better capture the entire essence of Brian Eno than one can find in his unforgettable 1974 recording, "Baby's On Fire."

From the instant that "Baby's On Fire" begins, it is clear that this is a song that knows not even the most remote peer, as the assault of sound hits from every angle.  Within moments, Eno manages to build an almost unmatched amount of tension, and the spinning, almost alarm-like tone that runs throughout nearly the entire song is the key to this mood.  The way in which drummer Simon King lightly plays behind this gives the song even more tension, and it makes it feel as if the entire song could fall apart at any moment.  Bassist John Wetton pushes this mood even higher, and his dark, looming progression proves just how much power one can inject with even the most simple of progressions.  Yet the clear musical focal point of "Baby's On Fire" quickly becomes the guitar work, and this is not surprising considering that it is a dual sound courtesy of none other than Paul Rudolph and the iconic Robert Fripp.  The way in which these two tear into the center section of the song is truly as good as music gets, as they dive into an almost jazz-like solo that switches between melodic and textural patterns.  Though given the overall structure of the song, such a lengthy solo may seem out of place, it manages to work perfectly, and it stands as one of the finest guitar solos in all of recorded history.  It is the way in which Brian Eno is able to bring all of these sounds together in such stunning fashion that makes "Baby's On Fire" such a monumental achievement, and while many followed his style, none have ever come even remotely close to this work of art.

However, while many could argue that the music alone would have been enough to make "Baby's On Fire" a massive achievement in itself, the vocal work and lyrics that Brian Eno adds pushes it to a truly iconic status.  It is within his vocal performance that the true personality of Eno becomes quickly clear, as there is an unmistakable tongue-in-cheek feel to his singing.  Bringing a nasally, almost pretentious attitude, it sounds as if Eno is mocking people, and yet somehow, this manages to come off as even more intriguing than the music over which he is singing.  The way in which is voice seems to soar, yet actually stays in a very controlled state is another reason the song is so unique, and his vocal performance is another part of the song that supports the idea of complexity within simple musical approaches.  Yet it is perhaps the lyrics that he sings that make "Baby's On Fire" a true classic, and in both their content as well as in the way he delivers the words, he would have made Jonathan Swift proud.  The lyrics of the song are not in any way subtle, as Eno presents a completely ludicrous, yet scathing commentary on how the media exploits people of all ages.  Though at its core, the song revolves around the idea of a photo shoot where a baby is burning without anyone seeming to care, Eno manages to pen one of the most brilliant lyrics in history when he sings, "...they said you were hot stuff, and that's what baby's been reduced to..."  Perhaps due to the way in which he delivers the lines, the lyrics of "Baby's On Fire" are sometimes an after-thought, yet there is no question that they are just as powerful and potent as any other aspect of this amazing composition.

To put it simply: there has never been another artist that can compare to the musical vision and courage similar to that found within the recorded catalog of Brian Eno.  Working sounds ranging from ambient to glam-rock to punk to jazz, he embodies the term "artist" in its finest and most complete sense.  Though he had already made a name for himself from his work within Roxy Music, it was his 1974 solo debut, Here Come The Warm Jets, that served as almost a warning call that he was going to completely rewrite all the rules of music, finding ways to bring a pop sensibility to even the most avant recordings.  The fact that so many of these sounds can be termed as "pop," yet carry with them such a dark, almost maniacal feel is a testament to Eno's overall musical talents, and it is this aspect that keeps him completely separated from all of his peers and followers.  Showing off nearly every nuance of his musical talents, "Baby's On Fire" is a recording unlike anything else in history, as every aspect of the song is complete unique.  From the tension-filled hi-hat work to the guitar solo that manages to embody the feeling of a nervous breakdown, the tone and mood set by the song is absolutely unrivaled.  Yet if one dissects the song, it is mind-blowing to discover that outside of the solos, it never deviates from a simple, two-chord progression.  The way in which the song blends together elements of jazz, punk, electronica, glam-rock, and countless other styles proves just how uniquely amazing an artist lives within Brian Eno, and there is not another song in history that can compare to the sheer brilliance that can be experienced on his monumental 1974 recording, "Baby's On Fire."

March 14: Daily Guru, "Gurucast #63"

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(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. Alice In Chains, "Would?"  Dirt
2. David Bowie, "Space Oddity"  Space Oddity
3. Smashing Pumpkins, "Rocket"  Siamese Dream
4. The Misfits, "I Turned Into A Martian"  12 Hits From Hell
5. Weird Al Yankovic, "Slime Creatures From Outer Space"  Dare To Be Stupid
6. Ten Years After, "I'm Going Home"  Woodstock
7. Natalie Merchant, "San Andreas Fault"  Tigerlily
8. The Clash, "1977 (demo)"  D.O.A.
9. The Swans, "Your Property"  Cop
10. Carl Perkins, "Right String Baby But The Wrong Yo Yo"  The Dance Album
11. Ornette Coleman, "Eventually"  The Shape Of Jazz To Come
12. Goldfinger, "San Simeon"  The Show Must Go Off
13. Symarip, "Skinhead Moonstomp"  Trojan Skinhead Reggae Box Set
14. Elvis Presley, "Crawfish"  King Creole Soundtrack

March 13: Nina Simone, "Do I Move You?"

Artist: Nina Simone
Song: "Do I Move You?"
Album: Nina Simone Sings The Blues
Year: 1967


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To be a true individual, to defy all definitions in sound and style, is without question the most difficult achievement in all of recorded music.  For the most part, even the most "out there" performers, at some level, can be classified along with other artists, as the core of their style has similar roots to some extent.  Those artists who have been able to exist outside of all classifications number in the single digits, and in nearly every case, these brilliant and unique creators of sound did not and do not receive all of the accolades they so richly deserve.  Among these pioneering and genre-defying individuals, few have the intrigue, uniqueness, and truly stunning sound that can be found within the absolutely smoldering voice of the one and only Nina Simone.  Mixing together elements of jazz, soul, blues, and even rock, her recordings remain some of the most treasured and mind-blowing in all of music history, yet she is often placed in a "second tier" behind many of the more mainstream artists of her day.  However, even her own sound began to get diluted and lost due to the intervention of her record label, so in 1967, she completely stripped things back down and released her genre-bending masterpiece, Nina Simone Sings The Blues.  Filled with some of her most beautiful and unique songs of her entire career, there are few moments in history that are are raw or musically original than the sound one finds on Nina Simone's extraordinary 1967 song, "Do I Move You?"

As soon as "Do I Move You?" begins, it makes itself appear as a standard blues song, with a swing and sway that are uniquely inviting.  The guitar playing from Eric Gale and Rudy Stevenson are absolutely perfect, as they burns slow across the track, building a mood and tension unlike any other recording in history.  While they are clearly playing in a blues style and progression, there is something different about their sound that makes it appear as a genre onto itself.  The addition of bassist Bob Bushnell and drummer Bernard Purdie heighten the overall mood, as they slowly rocks the song back and forth, not quite in a groove, but pushing the song deeper into itself.  However, the key to the distinctive sound on "Do I Move You?" is the way in which the piano and harmonica are worked into the track, as well as how the song progresses.  Buddy Lucas is absolutely brilliant on harmonica, and his performance gives the song a very raw and organic feel.  Combining this with the piano Ernie Hayes, the song has an almost Western feel to it, as he dances across the keys.  Yet the most stunning and mind-blowing aspect of "Do I Move You?" is the way in which the song "takes off" in the latter half of the recording.  As the tension begins to reach its apex, it takes on what is almost a rock and roll feel, and as it crashes to an end, it is literally impossible to place the song into any single category.

Yet while the musical portion of the song is nothing short of amazing, there is simply nothing that can compare to the sound and mood set into place by Nina Simone and her vocals.  In every way possible, there has never been another singer like Nina Simone, as both the sound and attitude that she brings to every track is completely distinctive, and it is in her vocal approach that her legend lives.  As "Do I Move You?" progresses, nearly every nuance of her singing style is put on display, and it all begins with a slow, swinging, almost seductive blues rhyme.  When she sings, "...do I move you? Are you willing? Do I groove you? Is it thrilling? Do I soothe you? Tell the truth now? Do I move you? Are you loose now? The answer better be yeah...It pleases me...," there is an empowered feel that demands that the listener responds with nothing more than the word, "yes."  It is this more aggressive, yet alluring sound that makes Simone's sound so impossible to define, and this mood only builds as the song progresses.  Working the entire vocal range, it is the way in which she quickly jumps from her low, somewhat coquettish sound to her unrestrained, soaring work in the upper registers that presents some of the most breathtaking moments on the entire song, and yet there is not a moment anywhere on "Do I Move You?" where the listener can do anything but sit in awe of the power and emotion of Nina Simone's voice.

Perhaps the most distinctive aspect of all of "Do I Move You?" is the pace at which the song moves.  Until the very end of the song, it seems to be moving at such a slow pace, that it is a purposeful tempo, ensuring that the mood and sway stay perfectly intact.  Keeping the tempo at the exact same pace, the energy quickly begins to simmer, and halfway through the song, the band manages to keep things at a critical mass, making the overall mood of the song brilliantly overwhelming.  It is in this combination of sound and mood where the music of Nina Simone completely defies all descriptions, as there is a rock attitude sitting under a blues progression with a vocal approach that borrows greatly from both jazz and soul.  Taking all of this together, and stripping away all of the "extras" that had been placed alongside Simone from her previous label, and "Do I Move You?" quickly makes its case as the most raw and hard hitting song of all time.  Simply put, both the band and singer have nothing holding them back, and they were able to capture the essence of a group that clearly had great chemistry and were unquestionably "in the groove" when the song was recorded.  Listeners can almost feel the heat and energy of the session, and it is easy to argue that the random shouts throughout the song were the results of the high energy being created within the studio.  Taking all this into account, there is absolutely no way to place this, or any of Nina Simone's catalog into any single genre, and there are few moments in her recordings that are as outright breathtaking or moving than one finds in her 1967 classic, "Do I Move You?"

March 12: Mudhoney, "Touch Me, I'm Sick"

Artist: Mudhoney
Song: "Touch Me, I'm Sick"
Album: Touch Me, I'm Sick (7" single)
Year: 1988


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Though it does not make it any more right or understandable, within nearly every genre in the history of music, the "true" founders of a style rarely receive the credit or sales similar to that of later acts that largely copy their sound.  One can find clear examples of this within punk, glam rock, and blues among other styles, and this trend persists today, and was perhaps no more obvious than when the so-called "grunge" sound rose to prominence in the early 1990's.  While bands like Nirvana and Pearl Jam may stand as the icons of this style to many, there is no question that both bands owe their entire careers to the pioneering sound of Mudhoney.  Far more aggressive and jarring than any of their followers, Mudhoney's sloppy, in-your-face style remains just as potent to this day, and it is the true bridge between heavy metal and indie rock that so many other bands have tried to find.  The other claim to fame that Mudhoney holds is the fact that they were the first band to ever release a single on the now-famed Subpop Records, and in their wake, the label became the mecca for up and coming bands.  Though their later records are certainly worth owning, it was in fact this initial single that stands as not only their best work, but easily one of the most important records in history.  Bringing an aggression and volume that simply was not being made elsewhere at the time, there are few songs that can compare to Mudhoney's pivotal 1988 single, "Touch Me, I'm Sick."

Within the first moments of "Touch Me, I'm Sick,"many of the influences on Mudhoney are apparent, and it is in this combination of sources of inspiration where one can quickly understand why their music was so revolutionary.  The quick-swinging, almost grinding guitars from Mark Arm and Steve Turner bring to mind the sounds of Black Sabbath crossed with The Damned.  There is a punch to their playing that was miles away from what other bands of the era were doing, and one can easily hear how this song drove the musical movement that followed.  The rhythm section of drummer Dan Peters and bassist Matt Lukin is equally impressive, and they are able to provide a similar blend of groove-based punk that one can hear in the guitars.  Like many of his followers, Peters sounds as if he is trying to destroy his drum kit on "Touch Me, I'm Sick," and his playing sounds far more forward in the mix than most drum tracks.  Within Lukin's performance, one can also make a tie to bands like Black Flag, as the way in which he almost seems angry with his bass is very reminiscent of the playing of the great Chuck Dukowski.  However, even though one can draw all of these influences out of their music, there is no question that this was a completely original sound, and it is that fact that makes Mudhoney so musically brilliant.  The way in which the song is almost uncomfortably loud and aggressive, yet beyond catchy is where their genius lies, and it was never more obvious than on "Touch Me, I'm Sick."

Along with his exceptional performance on guitar, Mark Arm also provides one of the most breathtaking vocal performances of his generation on "Touch Me, I'm Sick."  Bringing a screeching, almost wild performance style, there is no question that he takes much of his style from the great Iggy Pop, but there are traces of a number of other artists within his singing.  Regardless of these influences, Arm further separates Mudhoney from everything else that was being done at the time, and his aggressive, almost chaotic style is so unique that one simply cannot help but be completely captivated by his performance.  Many have argued that his almost over-done style of singing was somewhat a mocking of the hair-metal sound of the time, yet even if this is true, it detracts nothing from the power that Arm brings to the vocals.  It is this force with which he sings that helps the lyrics to appear in their finest form, and due to the style and rhythm with which he delivers them, they take on a strangely poetic feel.  The lyrics of "Touch Me, I'm Sick" are also somewhat haunting, and in many ways define the whole "rock and roll lifestyle" idea.  There is a brutal honesty that can be felt when Arm delivers lines like, "...I won't live long, and I'm full of rot, gonna give you girl, everything I got..."  It is also within the words on "Touch Me, I'm Sick" that the song takes on a dirty, almost menacing feel, and yet it is also what makes the song so anthemic.

Taking the sound, style, and substance of "Touch Me, I'm Sick" all together, it is no surprise that the song became such an underground hit, and once the sound got out, there was no stopping the musical movement that followed.  It was the impact of this song that turned Subpop Records into "the" place for new bands, and helped Seattle to, for a short time, become the hottest place for up and coming artists.  Yet there has also been a strong legacy for the song, and along with a massive amount of covers over the years, it also received a clear nod in Cameron Crowe's 1992 cult-classic, Singles.  In the film, the band Citizen Dick (comprised of members of Pearl Jam among others) releases an album called "Touch Me, I'm Dick," and to this day, the song remains one of, if not the most treasured song in the entire grunge catalog.  If one steps back and compares "Touch Me, I'm Sick" to the other music that was being made in 1988, it is almost laughable in comparison, as the aggression and pure noise that Mudhoney was making absolutely buried the efforts of the rest of the music scene.  It is perhaps due to this stark contrast in sound that the style caught on so quickly, as there were legions of music fans chomping at the bit for someone to save them from the bland, over-done world of "hair metal."  To this end, it is not surprising that Mudhoney remain so highly respected by "those in the know," and though they may not have received the overall credit they so clearly deserve, there is simply no other song from any point in music history that can even remotely compare to the sound and power one finds in Mudhoney's extraordinary 1988 single, "Touch Me, I'm Sick."

March 11: Robert Johnson, "Cross Road Blues"

Artist: Robert Johnson
Song: "Cross Road Blues"
Album: Cross Road Blues (single)
Year: 1937


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Though every style of music has its fair share of important and iconic figures, there is always one performer who stands out above the rest, and this individual almost always defines the style itself.  While the genre itself may have changed in a number of ways as the decades passed, it is that originator, that pioneering sound that never seems to age.  Whether it is due to the purity of sound or the way in which a performer may have changed the musical landscape, it is often difficult to define "why" that person is so much more important, but there is rarely a question of whether or not they are worthy of such a status.  With this in mind, though there were a number of massively important performers in the early development of the blues, none have the mythical status held by the one and only Robert Johnson.  In every aspect, it is Johnson's handful of recordings that define blues music at its finest, and even more than seventy years after his passing, his songs still remain as powerful as they were upon first release.  This is all the evidence one needs to cement his legacy as "the" blues icon, and one can experience his subtle mastery on any of the countless collections of his music that have been created over the decades.  With a catalog as superb as his, it is absolutely impossible to single out one song as his "best," but everything that has earned him this reputation can be experienced in Robert Johnson's 1937 recording, "Cross Road Blues."

The key to the sound of Robert Johnson lives within the simplicity of his music, as there are virtually no recordings where there is anything more than the man and his guitar.  Furthermore, the tone with which he plays is instantly recognizable, and this is due both to his distinctive playing style, as well as the limitations of recording technology when he placed these amazing songs on records.  "Cross Road Blues" can be argued as his finest recorded performance on guitar, as it is without question one of the more complex arrangements in the Robert Johnson catalog.  Though the song begins with his signature "twang," it quickly turns into one of the most beautifully melodic and unquestionably catchy progressions that he ever recorded.  It is the way in which his guitar playing is so simple in sound, yet is amazingly complex for the time period that demands so much respect, and many have even gone as far as comparing this progression to great classical pieces in terms of its innovation and overall structure.  Within this amazing playing, there is an almost overwhelming amount of emotion that comes through in his playing, and his guitar helps to heighten the overall mood set forth on the song.  There are times during "Cross Road Blues" where his guitar almost seems to be a second vocalist, offering a fantastic compliment to Johnson's voice.  While the guitar of Robert Johnson is always as important as his vocals, it is the sound on "Cross Road Blues" that proves what an exceptional talent he was in both of these areas.

Throughout all of "Cross Road Blues," one term that keeps coming to mind is the word "balance," and it is in this idea that one can fully appreciate the absolutely stunning vocals of Robert Johnson.  For a number of reasons, Johnson can still lay claim to the most straightforward and raw vocals ever recorded, and there is perhaps no other voice in history that better defines the blues as a genre.  Working the entire vocal scale, Johnson moans and cries across "Cross Road Blues," and yet there is an almost haunting pain and nervousness that can also be heard within his singing.  There are moments on "Cross Road Blues" where Johnson's vocals seem to almost transcend human emotion, and they convey a power and feeling that has never been matched since his recording.  It is this element that has vaulted Robert Johnson to the mythical status that he retains to this day, and yet even without it, the way in which he sings makes it clear just how close he was to the lyrics presented on each song.  This proximity to his lyrics runs throughout all of his songs, and yet "Cross Road Blues" can be interpreted on a number of different levels.  While most prefer to hear the song as one of the many links to the "sold his soul to the devil" myth of Johnson, many interpret the song as a commentary on race at the time, hearing it as Johnson trying to find his way home late at night to avoid lynching or a similar fate.  Yet there is a pain and loneliness in his voice that goes beyond words, and it is this factor that makes the song so extraordinary, regardless of how one wishes to interpret the lyrics.

Taking all of this into account, it is quickly understandable how and why Robert Johnson remains in the almost saintly status that he does today, as one can easily argue that music simply does not get more moving or honest than one finds on "Cross Road Blues."  The way in which Johnson perfectly balances the sound of his guitar with his pained, almost tortured vocals represents everything that makes blues music so special, and though many have tried, no artist since has been able to come even remotely close to this combination of sounds and emotions.  Furthermore, one cannot deny the massive amount of myth that has come to surround the name Robert Johnson since his passing in 1938, and "Cross Road Blues" can easily be taken as one of the central parts of these great stories.  Those who wish to believe in the legend of Johnson selling his soul to the devil in exchange for musical ability can easily use this song as another reference to the incident, seeing "Cross Road Blues" as Johnson traveling home from that incident.  However, even without this idea, the song remains just as powerful and beautiful, and it is this fact that solidifies the overall greatness of Johnson and his music.  Further adding to his legend, it is quite literally impossible to cite all of the artists who have covered or taken pieces of "Cross Road Blues" over the decades, and this proves his lasting and wide-reaching impact.  Though every song he ever recorded is absolutely legendary, one can experience the great Robert Johnson in perhaps his finest hour on his magnificent 1937 recording, "Cross Road Blues."

March 10: New York Dolls, "Personality Crisis"

Artist: New York Dolls
Song: "Personality Crisis"
Album: New York Dolls
Year: 1973


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Though many people would rather think of the sudden rise of certain genres as "musical revolutions," in nearly every case, there is a point earlier in history where one can clearly see this new style of music present with an older style.  That is to say, before a number of bands make a new sound popular, there is always a group that managed to balance that performance with the roots from which it came.  This is perhaps no more true than when people try and point to 1977 as the year that punk rock "came out of nowhere," as when one looks to the beginning of that same decade, it is quite easy to find a number of clear examples of the genre already in existence.  Though it is simple to see the style within the music of bands like The Stooges and Velvet Underground, to find the band that perfectly balanced what would become punk rock with the sound of rock and roll, one need look no further than the equally legendary New York Dolls.  Best known for their influence on the hard rock sound, many accurately state that "before punk rock existed, The Dolls were playing punk rock," and it was their monumental self-titled 1973 release that serves as proof of their place in music history.  Filled with a sleazy, glam rock sound, all with an energy and attitude that was second to none, the record absolutely blows away any of their peers, and there is perhaps no better a definition of the bands' sound or the overall impact they had than one can find within The New York Dolls iconic 1973 song, "Personality Crisis."

The fact that "Personality Crisis" kicks off the album, as well as serving as an introduction of the band to most people, is absolutely stunning, as the opening note is somewhat jarring.  The group wastes no time jumping into the song full speed, with guitar legend Johhny Thunders ripping across the track.  While his playing has what is now termed as a "classic rock" sound to it, there is also a clear underlying attitude in their sound, and it is here were one can begin to tell that "Personality Crisis" is something a bit different from the music of their peers.  Bassist Arthur Kane furthers this idea, as his playing is jumpy, and lends a bit of a darker mood to the song, as well as providing it with much of its edge.  The drumming of Jerry Nolan is amazingly sparse and dry for the time period, and it is in this aspect of "Personality Crisis" that one can hear the minimalist attitude that would define punk rock.  However, it is the piano work from Sylvain Sylvain that provides the most clear bridge between the "classic" rock sound and what would be termed punk, and the way in which the piano clashes with the guitars is nothing short of stunning.  At times, it sounds as if Sylvain is trying to smash the keys, playing with an intensity perhaps only akin to that of Jerry Lee Lewis, and this helps to highlight the fact that the band as a whole never lets up their energy even in the slightest.  It is this raw, unrestrained energy that makes "Personality Crisis" such a landmark song, and before the rise of the punk era, it was this song that served as the "defining" song of the underground New York City music scene.

However, as amazing as the musical arrangement is on "Personality Crisis," the song simply would not have the status that it does without the brilliant vocal performance from David Johansen.  Making very little effort to sing in the traditional sense of the word, it is the energy and attitude within his voice that push the song to the next level.  In retrospect, Johansen's performance is perhaps more akin to rapping than anything else, and one can look to a seemingly endless list of later performers that adopted and adapted his style.  It is also his wild scream at the top of the song that sets the tone for "Personality Crisis," and the punch that he retains throughout the song is without question the source of inspiration for a majority of punk frontmen.  Yet one cannot overlook the lyrics on "Personality Crisis," as much like the vocals and music, they are rather blunt and filled with attitude.  Speaking directly to the idea of having to figure out exactly "who" you are in life, Johansen brilliant states the meaning behind the songs' title when he delivers the line, "...but now your tryin' to be something, now you've got to do something..."  This simple, direct definition is one to which all can relate, and it serves as the perfect final piece to the song, making it have an appeal unlike any other song ever recorded.  The tension and attitude that Johansen injects into the words is second to none, and though many have covered the song since, none come even close to his superb performance found on the original.

When one looks at "Personality Crisis" as a whole, it is almost mind-boggling to consider all of the influences that one can hear witihn the music, as well as the bands that clearly took large parts from the sound of The New York Dolls.  Finding a balance between the glam-rock sound of David Bowie and Elton John, and serving as an influence for artists ranging from The Ramones to Aerosmith to Bruce Springsteen, one simply cannot deny the massive importance that lies within this song.  Furthermore, it is on "Personality Crisis" that one can hear the early "sloppy riff" sound that Johnny Thunders would perfect over the next decade, in turn making him a legend in his own right.  It is the way in which the band is able to balance the sleazy blues of The Rolling Stones with the edge and fury of The Stooges that makes "Personality Crisis" such a remarkable moment in music history, and the way in which producer Todd Rundgren was able to give each sound its own space on the song helps to highlight the exceptional talents of the band members.  Yet at nearly four minutes, the song stands in stark contrast to the genre it would create, and yet that fact also proves that the punk rock formula can be adapted in any number of ways.  Perhaps moreso than any other band, one can argue that without The New York Dolls, punk rock simply would not have come into existence, and one can easily understand why this is true, along with hearing just why the band is held in such high regard, by experiencing The New York Dolls' extraordinary 1973 song, "Personality Crisis."

March 9: Ohio Players, "Love Rollercoaster"

Artist: Ohio Players
Song: "Love Rollercoaster"
Album: Honey
Year: 1975


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Though it is sadly overshadowed by the sounds of disco, there were few genres that provided more exciting sounds and innovations throughout the 1970's than one will find in the funk music of that time period.  Those within the genre were able to take full advantage of the new technologies and find ways to integrated them into their sound, and the amount of crossover that occurred within the world of funk was second to none.  Many of the greatest bands of that era swelled in membership, and it was this full sound that defined them, and without question, one of the most important and creative bands of this time were the aptly named Ohio Players.  Bringing an absolutely perfect blend of soul and jazz to the funk style, the group had already been performing for well over a decade when they began to gain international recognition.  Largely due to their brilliant horn section and the overall upbeat feel of their music, on all fronts, Ohio Players could not have released a more perfect record than one finds in their 1975 classic, Honey.  Even before one gets to the musical aspects of the album, the cover itself created great controversy due to the presence of a nude model and many myths behind the photo shoot that yielded the picture.  However, once one gets past this, there is an absolutely stunning record to be heard, and few songs have withstood the test of time to define Ohio Players as well as their iconic 1975 song, "Love Rollercoaster."

As soon as the song begins, the group deploys what has become one of the most unmistakable and heavily used guitar riffs of all time, and the bouncing, almost ska-like progression is able to pull in the listener as quickly today as it did more than thirty years ago.  Played by Leroy Bonner, it is this riff that is one of the best examples of the power than can come from simplicity, and even when he moves away from the riff here and there throughout the song, it is the hook that sticks in the mind of the listener.  Marshall Jones' bassline is without question everything that one could want from that instrument, as it swings back and forth on the track, giving "Love Rollercoaster" a sense of movement that is fitting of such a title.  This groove is complimented by drummer James Williams, and the way in which this pair seem to be completely locked in with one anothers' sound almost instantly gives them support for being one of the greatest rhythm sections in history.  However, the "pop" to "Love Rollercoaster" comes from the brilliant horn section in the band, and it is this performance that separates both the song and band from their peers.  The way in which the trio of Mervin Pierce, Ralph Middlebrooks, and Clarence Stachell blaze across the track, rising and falling with the mood is absolute musical perfection, and it is this combination of sounds that makes "Love Rollercoaster" such an unmatched moment in the history of funk music.

Working perfectly alongside the music, the vocals on "Love Rollercoaster" are able to push the mood even higher, and it is in this aspect of the music where one can connect the song to the roots of the band.  While Leroy Boner handles the lead vocals on this track, the entire band, as well as a number of backup singers, help to give a far more full vocal presentation, and this enables the song to take on a far more universal feel.  Bonner brings a scattered vocal delivery that is heavily based on the mood of the song, and the way in which his voice matches the music in both rhythm and tone is what makes it such a unique vocal performance.  In fact, one can easily tie a number of later musicians (read as: Outkast) to this performance, and in many ways, it was this moment that redefined what was possible within the role of a lead singer.  However, it is also the group vocals that define the song, and the almost "call and response" nature of the chorus is clearly what enabled the song to have such a successful crossover, sending it to the top of both the r&b and pop charts.  The theme behind the song certainly helped as well, as the song speaks to the idea of the "ups and downs" of a relationship, and yet is able to spin this frustration into a positive sounding song.  "Love Rollercoaster" is without question a celebration of sound, and this mood and energy are perhaps no more clear than within the vocals from Leroy Bonner.

Truth be told, the vocals on "Love Rollercoaster" also provided for what remains one of the most perfectly handled, yet most controversial myths in all of music history.  About two and a half minutes through the studio version of the song, there is a wild, almost chilling scream that can be heard in the mix, and the legend was that this was the sound of someone being murdered while the tape was rolling for the recording.  This noise was in fact the bands' keyboard player, Billy Beck, but the rumor persisted as the band took a vow of silence on the issue because, as Williams later said, "you sell more records that way."  Even without this massive controversy surrounding the song, one can easily argue that it would have achieved the status that it has over the decades, as it presents the ideal combination of funk, soul, and outright fun that one can find within music.  The song has been sampled countless times over the decades, and in 1996, Red Hot Chili Peppers released an absolutely fantastic cover of the song that introduced Ohio Players to an entirely new generation.  The way in which the band is able to make the rhythm move in quick circles around the listener, yet never lose its potency throughout the nearly five minutes is a testament to the talents of the group members, and it is this unforgettable musical arrangement that helps Ohio Players' 1975 classic, "Love Rollercoaster" remain such a pivotal moment in music history.