Songs You May Have Missed #774

Original Broadway Cast: “Maybe” (1977)

She just turned seven yesterday. Seems young, but some seem to gather in more in seven trips around the sun than others. She’s always looking for the next thing to love, the next thing to dive into. Like her mom did at seven.

A musically-obsessed grandpa throws a lot of things her way. Certain things have stuck, become obsessions of her own. She loves Herman’s Hermits, Veggietales, Vivaldi, singing cats, the Cowsills, Julieta Venegas, ABBA, Veruca Salt singing “I Want it Now”, Lennon’s leather-tonsilled “Twist and Shout”, McCartney’s “Uncle Albert/Admiral Halsey”, this video, and, most obsessively, “Maybe” from Annie.

She’s long been enamored of the two better-known songs from this musical. She’s watched the “Hard Knock Life” movie clip on YouTube countless times. And when we visited a community park with an old bandshell she took the stage to give her grandpa an exclusive performance of “Tomorrow”, taking immense pride in holding the final note even longer than Andrea McArdle did.

Finally this year the off-Broadway production of Annie came to town. We knew that “Tomorrow” and “Hard Knock Life” would be highlights.

What we didn’t know was that an unfamiliar song would be the highlight.

In the show’s first number, lead character Annie is quieting a younger housemate who’s had a bad dream. The conversation turns to their dreams of being taken in by a real family. Annie, who holds onto hope that her parents will return for her any day, sings the heartbreaking “Maybe”.

Grandpa and granddaughter alike were, apparently, blindsided. Enthralled. That moment, that song, that performance–it was magic. The kind of moment you wish could last and want to relive over and over.

So by the end of intermission she’d made sure I’d put “Maybe” on the Spotify playlist she curates on my phone. And on the way home from the theater we heard one song on repeat. And after every play she asked me if I was sick of it yet. And I answered honestly that I wasn’t.

A couple days later we went to our favorite coffee shop for chai and to the roller rink. It’s become a semiregular routine of ours and involves a bit of a drive. We stopped at Chipotle to pick up some dinner, then to my house to eat it, then back home for her. I think I heard “Maybe” over 30 times that day.

“Are you sick of it yet?”

“Nope”

And even if I was, I wouldn’t say it. She’ll get no wet blanket from me. It’s a joy to see the joy she gets from music. In a young person there’s no pretense and no posing; the love of music is luminous, instinctive and real.

Even when the car contains two older brothers, their devices, their more contemporary urban music tastes and their propensity to tease her for her musical sensibilities, she only sings louder, completely undeterred.

This is the gift of being inside the music, coupled with that of being too young to feel shame about loving the stuff you love.

Annie has become a bit of an obsession for both of us. The next musical obsession will come along of course, but until it does we watch YouTube Annie performances and compare the Annies over the years (she prefers Brooklyn-accented Lilla Crawford while I’m partial to the original cast’s McArdle). We rate which girls sing the best versions of this song that stole both our hearts unexpectedly.

We can’t wait until another production of Annie comes to town, and this time “Maybe” will be the most anticipated moment.

Nope, still not sick of it.

Songs You May Have Missed #773

Over the Rhine: “My Father’s Body” (2014)

Blood Oranges in the Snow was the third holiday-themed release from prolific Ohio-based indie folk group Over the Rhine.

As so-called “Christmas music” goes, their homespun, thoughtful Americana–touching as it does only lightly at times on holiday themes–is as far from the Mariah Carey scene as one can get.

Refreshingly honest. Devastatingly real.

My father’s body lies beneath the snow
High on a hill in Holmes County, Ohio
From there you can look out across the fields
A farmer guides his horses home as day to darkness bends
And finally yields

Dad’s gravestone holds the words Be Still My Soul
A song we sang together long ago
And there were times we even shared one hymnbook
His right hand and my left hand side-by-side holding pages
Of music

But now his hands hold nothing but the earth
Hands that held me moments after my birth
And so we must all finally surrender
As we release our grip upon whatever we hold dear
And call familiar

My father’s body lies beneath the snow
And I’m still learning how to let him go
I’ve come to know him better since he’s gone
And often wondered if or how I could’ve been a different
Better son

My father’s body lies beneath the snow
Sometimes on Christmas Eve that’s where I go
I hear faint Christmas bells from far away
Ring out all the unspoken words I’ve never found within myself
To say

See also: https://edcyphers.com/2016/12/09/songs-you-may-have-missed-604/

Songs You May Have Missed #772

Jethro Tull: “Reasons for Waiting” (1969)

Another gem from the deep catalog of a band whose hardcore fans seem to think every release is a masterpiece (they couldn’t be more wrong) but who gets such little mainstream critical respect that, as of this writing, the band hasn’t been inducted into the Rock and Roll Hall of Fame (they couldn’t be more wrong).

Similarly to Fleetwood Mac, Jethro Tull started out as a British blues-rock band, but lineup changes–and perhaps commercial considerations–dictated a musical course correction.

Following the departure of band leader and guitarist Mick Abrahams after their first album, Tull was effectively Ian Anderson’s band (and has been ever since).

After a brief (less than 2 month) stint by future Black Sabbath legend Tony Iommi, guitarist Martin Barre was brought aboard to replace Abrahams on guitar. A more versatile musician, Barre was adept on mandolin and had actually been playing flute longer than Anderson himself.

Tull’s signature sound would be forged by Anderson’s flute and Barre’s guitar licks over the next decade. In the meantime, second LP Stand Up was the record on which the transition from blues-influenced rock to a folk-inflected style began. Soon after, their distinctive folk/progressive rock blend fully unfolded.

But Tull has never truly abandoned its folk-rock leanings under flautist Anderson’s leadership.

“Reasons for Waiting” is nowhere on any Tull fan’s list of favorite songs. But this beautiful Ian Anderson ballad showcases the versatility of the writer better known for such canonical classic rock as “Aqualung”, “Locomotive Breath” and “Thick as a Brick”.

Palmer, 1970’s
Palmer, recent

This was the first song on which the band used orchestration in the studio, and Dee (at the time David) Palmer’s string arrangement is what raises the song to another level.

Palmer, perhaps Jethro Tull’s true unsung hero, would later become a full-fledged recording and touring member of the band, helping to build the lavish arrangements on albums like Songs from the Wood and songs like “Orion”.

Credited as composer of the 1979 Stormwatch album-closer “Elegy”, one of the few Tull songs without an Anderson writing credit, Palmer wrote the song as an ode to her father, writing it within an hour after first hearing he had died.

See also: https://edcyphers.com/2013/02/24/songs-you-may-have-missed-340/

See also: https://edcyphers.com/2012/11/18/songs-you-may-have-missed-242/

See also: https://edcyphers.com/2025/07/12/recommended-albums-100/

Songs You May Have Missed #771

Band of Horses: “In Need of Repair” (2022)

From their sixth LP, arriving six years after their previous.

Things are Great strips back the band’s sound a bit, and sounds more like the Sub Pop records that made them indie pop darlings than their lusher-sounding more recent major-label work.

Rolling Stone

See also: https://edcyphers.com/2013/02/07/songs-you-may-have-missed-322/

See also: https://edcyphers.com/2012/06/24/songs-you-may-have-missed-135/

Songs You May Have Missed #770

Shoukichi Kina: “Haisai Ojisan (Hey Man!)” (1972)

If there’s one song that instantly puts me in a good mood, this is it.

Admittedly it’s pretty far afield from my usual fare and I think that’s the point. If music can be thought of as a drug, sometimes one develops a tolerance for the lower dose and seeks something that delivers a bigger kick.

I get a kick out of “Haisai Ojisan”

Shoukichi Kina and his band Champloose (the band name is derived from a traditional Okinawan stir-fry dish) were part of the Okinawan folk-rock movement of the 1970’s and 80’s. “Haisai Ojisan”, Kina’s first big hit, was a song he’d written in high school.

Kina and Champloose adding bass, guitars and drums to traditional sanshin music was the Okinawan equivalent to Dylan going electric in America, or Fairport Convention electrifying British folk.

Fittingly, Fairport alumnus Richard Thompson covered “Haisai Ojisan” in 1987 on the same French, Frith, Kaiser, Thompson Live Love, Larf & Loaf album that contains a cover of “Surfin’ U.S.A.” and an assortment of other strange musical bedfellows. Thompson and company’s “Haisai Ojisan” is a remarkably reverent take on the original:

The song has also spawned a group folk dance, or more accurately a variety of group folk dances, none of which seem to resemble the others much:

Shoukichi Kina is probably equally well known as a peace activist and politician, and was elected to the House of Councillors in 2004.

English translation:

Hey, man! Hey, man!
If there’s a drop of sake left in last night’s little bottle
Won’t you give me some?
Hey, boy! Hey, boy!
You think I’m satisfied with a little bottle?
Don’t say there’s none left!
Ok, man! If the little bottle’s not enough, give me a big one

Hi, man! Hi, man!
I wanna marry, I’m not a kid anymore
Can I marry your daughter?
Hey, boy! Hey boy!
Marry? No kidding!
You’re still too young to talk about such things
Ok, man! I’ll wait till my hair turns white

Hi, man! Hi, man!
What a big bald spot you have!
Hey, boy! Hey, boy!
Bald men are excellent
My forefathers were really excellent
Ok, man! I’m gonna have cosmetic surgery to add bald spots

Hi, man! Hi, man!
Your beard is funny, like the whiskers of an attic mouse
Hey, boy! Hey, boy!
Laugh at my beard, but women love bearded men
Ok, man! I don’t wanna be outdone by you,
Starting tomorrow, I’ll grow a beard that looks like the whiskers of a mouse

Hi, man! Hi, man!
Last night’s hooker was really pretty, you should go there, too
Hey, boy! Hey, boy!
In Chiji, Nakajima and Watanji,* I’m a big shot
Okay, man! Going around here and there, I’m wasting my money
You’re wasting your money

Songs You May Have Missed #769

Bekon: “17” (2018)

From the to-date only solo album release by producer Bekon, who’s collaborated with Kendrick Lamar, Eminem, Snoop Dogg and others.

The release of Get With the Times was so low-key, Lamar and not Bekon was the one who broke the news of its release on Twitter.

The tender ballad “17” is a thing of understated beauty with a Nilssonesque arrangement.

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