The refreshingly unguarded Adele reveals her rap skills, love for the Spice Girls, and the fact that she played drums on her hit “Hello” while joining James Corden for a ride around London on a recent installment of his Carpool Karaoke.
Art is the music we make from the bewildered cry of being alive. ~Maria Popova
15 Jan 2016 Leave a comment
in Video of the Week Tags: Adele, carpool karaoke
The refreshingly unguarded Adele reveals her rap skills, love for the Spice Girls, and the fact that she played drums on her hit “Hello” while joining James Corden for a ride around London on a recent installment of his Carpool Karaoke.
15 Jan 2016 Leave a comment
in Recommended Albums Tags: texas tornados, zone of our own
Texas Tornados: Texas Tornados (1990)
Texas Tornados: Zone of Our Own (1991)
Given country music’s current state of relative stagnation, when a hundred bro-country clones churn out assembly-line anthems to beer, ladies in tight jeans, and the dubious unrefined charms of rural life, it’s hard to imagine there was a time it was all so different, so diverse, and so fun.
From the mid-1980’s to the early 1990’s country music introduced us to such iconoclastic acts as Lyle Lovett, Alison Krauss, Dwight Yoakam, The Mavericks, k.d. lang, Los Lobos, Steve Earle…and a Tex-Mex supergroup who blended country with rootsy Texas rock and blues as well as Mexican folk and conjunto, mashing it all seamlessly, effortlessly into one great party.
Doug Sahm and Augie Meyers had previously worked together in the Sir Douglas Quintet, whose band name was chosen in the hopes of competing for live bookings at the height of 60’s British Invasion Anglomania.
Freddie Fender made a living recording Spanish-language versions of American hits, then penning a few of his own, including “Before the Next Teardrop Falls” which was a breakthrough #1 pop hit in America in 1975.
Flaco Jimenez took the mantle of conjunto accordion king from his father Santiago, at first enjoying regional success in and around his native San Antonio before breaking through to wider success, appearing on records by Buck Owens, Ry Cooder, the Rolling Stones and others.
In something of a parallel to another supergroup, the Traveling Wilburys (who’d released their first album just a year previous) the individual careers of all four had cooled off when they joined forces for the first time in 1989. Their self-titled debut, released the following year, was a resounding critical success and performed well on the country charts despite the lack of a single to propel sales.
Though some of the songs had seen previous release by the Sir Douglas Quintet or Augie Meyers, none had enjoyed major-label nationwide distribution, so when Reprise released Texas Tornados it may as well had been an album comprised of newly-written originals. The band released a Spanish-language version of their debut album as well.
Zone of Our Own, their 1991 follow-up, continues the same glorious collision of Tex-Mex styles with nearly equal success. From song to song, whether bandleader Sahm takes the lead, or Fender, or Meyers, and whether it’s a Texas blues rave-up or soulful ballad or accordion workout, an unabating party atmosphere pervades.
The Texas Tornados are no more, and with the death of Doug Sahm in 1999 it’s assured that one of music’s most original and distinctive bands ever is lost for good.
But their exuberant, celebratory mashup of styles is preserved on two albums that transport one to a musical border town whose magic stems from the fact that it is really a town without borders.
Listen to: “Who Were You Thinkin’ Of”
Listen to: “(Hey Baby) Que Paso”
Listen to: “La Mucura”
Listen to: “(Is Anybody Going to) San Antone”
Listen to: “Dinero”
Listen to: “Bailando”
Listen to: “Did I Tell You”
13 Jan 2016 Leave a comment
“I Think I Love You” outsold the Beatles’ “Let it Be” and Simon & Garfunkel’s “Bridge Over Troubled Water” in 1970 for a very good reason: it too was a great song.
The Partridge Family brought not only high-quality bubblegum music into American households in the early 70’s, but plenty of moral lessons (“You can’t expect to go through life having things given to you, you have to work for what you really want”, “We never quite outgrow making mistakes”, “Almost everything we know is learned by trial an error”, “Tracy, don’t put that drumstick up your nose!”)
Enjoy the stories of the hits, the misses (that kid who played Chris for one season) the bloopers, the singers behind the singers, and the family behind the family.
There was nothing better than being together–until the network puts you in a Saturday evening time slot opposite All in the Family and chokes out your ratings…
13 Jan 2016 Leave a comment
in Songs You May Have Missed Tags: enya, so i could find my way
Enya: “So I Could Find My Way” (2015)
If you’re blessed enough to have known at least once in your life the kind of love Enya describes here, you are most fortunate indeed.
A thousand dreams you gave to me
You held me high, you held me high
And all those years you guided me
So I could find my way
How long your love had sheltered me
You held me high, you held me high
A harbour holding back the sea
So I could find my way
So let me give this dream to you
Upon another shore
So let me give this dream to you
Each night and ever more
Yet only time keeps us apart
You held me high, you held me high
You’re in the shadows of my heart
So I can find my way
You held me high, you held me high
So let me give this dream to you
Upon another shore
So let me give this dream to you
Each night and ever more
A thousand dreams you gave to me
You held me high, you held me high
And all those years you guided me
So I could find my way
So I could find my way
See also: https://edcyphers.com/2013/03/30/songs-you-may-have-missed-378/
09 Jan 2016 Leave a comment
in Elements of Great Songwriting, General Posts Tags: average white band
When the Average White Band moved from the MCA record label to Atlantic in the early 70’s, they brought with them the master tapes of their second album, which MCA had opted not to release.
Jerry Wexler was eager to sign the band to Atlantic, but thought the rejected album needed a tweak before he released it on his label. The band and producer Arif Mardin replaced a couple tunes with stronger ones. They also re-worked other tracks to bolster commercial appeal.
One of these was “Got the Love”, and its two versions make the perfect case for why a song which starts with a chorus can often draw a listener in more effectively.
Listen to the earlier version of the song:
Despite a relatively irresistible white-boys-on-funk intro, the song takes about 1:12 to get to its chorus hook.
The re-recorded version, released on their #1 AWB album in 1974, gets to that hook within 20 seconds, and by 1:12 you’re hearing it for a second time.
A good songwriter–or producer–will know when and when not to come out of the gate with a chorus instead of setting it up with a verse or two. Once you start listening for such songs, you’ll find that there are plenty of examples in all genres. Here are a few that come to mind: