Songs You May Have Missed #189

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Candy Butchers: “You Belong to Me Now” (2002)

Mike Viola and his New York power pop band Candy Butchers. Although their catchier material draws comparisons to Neil Finn and Crowded House, Viola can be acerbic and Graham Parker-esque at other times:

Heaven knows, but Hell knows better/I wear my heart like bells on a leper

And if his voice sounds vaguely familiar, it’s because Mike Viola is the voice of the lead singer of these one-hit Wonders:

So if you want you can fantasize that “You Belong to Me Now” is a solo single released by lead singer Jimmy sometime after the breakup of the band…or not.

See also: Video of the Week: Making That Thing You Do! | Every Moment Has A Song (edcyphers.com)

Mumford & Sons “In a League With the Beatles”? Um, No.

Image of Mumford & Sons beatles

Fact: Mumford & Sons have six songs on Billboard’s Hot 100 singles chart this week.

Wild, misleading hyperbole, courtesy of Paste magazine:

Mumford & Sons Tie The Beatles for Most Hot 100 Hits in a Week

…The quartet is now in a league with The Beatles as the band with the most Hot 100 hits in a week. Lead single “I Will Wait” moves up to No. 57, and joining it are the debuts of five others including the title track (No. 60), “Lover’s Eyes” (No. 85), “Whispers in the Dark” (No. 86), “Holland Road” (No. 92) and “Ghosts That We Knew” (No. 94). (http://www.pastemagazine.com/articles/2012/10/mumford-sons-beat-the-beatles-for-most-hot-100-hit.html )

Reality check:

During the week of April 4, 1964 the Beatles not only occupied the top five slots on the Billboard Hot 100 chart (#1 “Can’t Buy Me Love”, #2 “Twist and Shout”, #3 “She Loves You”, #4 “I Want to Hold Your Hand” and #5 “Please Please Me”) but held twelve positions overall. Twelve. Twice as many as six.

Oh, and of the twelve songs the Beatles charted simultaneously, three topped the chart at some point. And others didn’t only because they were crowded out of the number one slot by other Beatles songs. (“Twist and Shout” and “Do You Want to Know a Secret” were #2’s and “Please Please Me” peaked at #3)

Oh, and that same week’s chart also included two singles that were tributes to the Beatles (“We Love You Beatles” by the Carefrees and “A Letter to the Beatles” by the Four Preps). Oh, and two more Beatle tribute songs charted just two weeks previous (“My Boyfriend Got a Beatle Haircut” by Donna Lynn and “The Boy With the Beatle Hair” by the Swans).

Oh, and the following week another Beatles number 1 , “Love Me Do” would debut on the American charts.

Also beginning the same month Billy J. Kramer and the Dakotas would chart three hits written and given to them by the Beatles, including top ten “Bad to Me”. Then starting in May a string of three Beatle-penned top twenty hits came from Peter & Gordon, including number 1 “A World Without Love”.

You see, the Beatles weren’t a flavor-of-the-month iTunes wonder–you know, like Kings of Leon, the last Next Big Thing? They were, and are, a cultural phenomenon. They owned not only the decade of the sixties but (let’s be honest) every decade since. In the less than seven years between their first chart hit and their breakup they established a record for most number 1 singles (20) that still stands. The great Rolling Stones, who made their chart debut within nine months of the Beatles and are still at it, remain at number fourteen on that list with 8.

The Beatles had 15 American million-selling records in 1964 alone. Their total worldwide record sales are in excess of 1 billion units.

Every conversation about the greatest rock and roll album of all time starts with one or another of their LPs.

The Beatles’ drummer has had seven more top ten singles as a solo artist than Mumford & Sons. In fact, Mumford & Sons have never had a top ten single. Or a top twenty single.

I could go on. The point is that calling a band like Mumford & Sons “in a league with the Beatles” is irresponsible hype. And saying they’ve tied them for the most chart hits in one week is factually incorrect. Correct your post, Paste. Post haste.

Crappy Jobs I’ve Had

Lead Vocalist in the Ventures

Image de The Ventures

Guitar Tech for The Who

Pete Townshend Smashed Guitar This Guitar Has Seconds To Live

Tour Promoter for George Jones

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Lyricist for Kenny G

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Costume Designer for Janet Jackson

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 Aretha Franklin’s Personal Trainer

Drummer for Kraftwerk

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This Guy’s Roadie

Manzer Medusa Guitar

Shane McGowan’s Dentist

Life Coach to Amy Winehouse

Oops! I Meant “They’re One of the Greatest Bands Ever”: Rolling Stone’s Original Review of Led Zep’s Debut

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You can find plenty to criticize about Rolling Stone magazine these days. What was once perhaps the foremost periodical devoted to Rock and Roll music and culture now regularly follows the careers of Justin Bieber and Taylor Swift as if they were Bob Dylan and Neil Young.

And the seemingly bi-weekly special issues built around the Top 100 this or the Top 500 that are kind of played out, no?

But hypocrisy is funny too. And it’s interesting to note that Swift not only merits a RS cover story but she also gets better reviews than Led Zeppelin once did. The magazine heaped flattery on her Speak Now album (see full review here: http://www.rollingstone.com/music/albumreviews/speak-now-20101026 )

…And for contrast I’ve reproduced John Mendelsohn’s review of Led Zeppelin’s 1969 debut. I consider it one of the bigger whiffs in the history of rock criticism (although I do give the magazine props for reproducing it in a 2011 issue). It’s not so much that I disagree with everything Mendelsohn said, it’s just amusing to note how quickly after this scud review the magazine set about elevating the band to status of rock immortals. Despite the cred Jimmy Page had earned as a member of the Jeff Beck Group, Mendelsohn makes them sound like mere mortals indeed, even hacks:

‘Led Zeppelin’: Blues Combo Dead on Arrival

Jimmy Page is, admittedly, an extraordinarily proficient blues guitarist and explorer of his instrument’s electronic capabilities. Unfortunately, he is also a very limited producer and a writer of weak, unimaginative songs. The most representative cut is “How Many More Times.” Here a jazzy introduction gives way to a driving guitar-dominated background for Robert Plant’s strained and unconvincing shouting. Zeppelin has produced an album sadly reminiscent of the Jeff Beck Group’s Truth. To fill the void created by the demise of Cream, they will have to find some material worthy of their collective attention.

I don’t know if Mendelsohn’s opinion of Plant changed once his “strained and unconvincing shouting” made him a rock god, or if  he still thought Page was a “writer of weak, unimaginative songs” post- “Stairway to Heaven”…but I think I know the official RS editorial position on the matter.

Songs You May Have Missed #188

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Stevie Wonder: “Saturn” (1976)

On the heels of top five smash albums like Talking Book, Innervisions and Fulfillingness’ First Finale (and their accompanying Grammy awards) Stevie Wonder was actually thinking of retiring from the music business in 1975. (I know!) Disenchanted with the U.S. government’s running of the country, he’d nearly decided to emigrate to Ghana to work with handicapped children, and had even planned a farewell concert.

Fortunately for us (if not the children of Ghana) he changed his mind, signed a new contract with Motown that gave him complete artistic control, and set to work on his masterwork, Songs in the Key of Life. Songs… was number 1 for fourteen weeks–a stupendous feat for a double album. Not only did it spawn the number 1 hits “I Wish” and Sir Duke” and the classic track “Isn’t She Lovely”, which became a radio staple despite never never having been released as a single; but the double album included a bonus  7-inch, 4-song EP inside its jacket, a fact lost on many who’ve bought the record for the first time in CD format or as a digital download.

And these “extra” songs weren’t throw aways either. One was “All Day Sucker”, which probably could have been a top twenty single. And another was “Saturn”, which can only be described as Sci-Fi soul. After four album sides of songs about inner city life’s loves, trials and tribulations, “Saturn” serves as denouement, closing argument and counterpoint all at once. It’s one of his best articulations of his frustrations with government wrapped in a fantasy about life in a more idyllic setting:

Packing my bags, going away/To a place where the air is clean/On Saturn There’s no sense to sit and watch people die

We don’t fight our wars the way you do/We put back all the things  we use/On Saturn There’s no sense to keep on doing such crimes
There’s no principles in what you say/No direction in the things you do/For your world is soon to come to a close

Through the ages all great men have taught/Truth and happiness just can’t be bought or sold/Tell me, why are you people so cold?
I’m going back to Saturn where the  rings all glow/Rainbow, moonbeams  and orange snow/On SaturnPeople live to be two hundred and five

Going back to Saturn where the people smile/Don’t need cars ’cause we’ve learned to fly/On Saturn Just to live to us is our natural  high
We have come here many times before/To find your strategy to peace is war/Killing helpless men, women and children That don’t even know what they’re dying for

We can’t trust you when you take a stand/With a gun and Bible in your hand/And the cold expression on your face Saying, “Give us what we want or we’ll destroy”
I’m going back to Saturn where the rings all glow/Rainbow moonbeams  and orange snow/On SaturnPeople  live to be two hundred and five

Going back to Saturn where the people smile/Don’t need cars ’cause we’ve learned to fly/On Saturn Just to live to us is our natural  high

Songs You May Have Missed #187

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Richard & Linda Thompson: “A Heart Needs a Home” (1975)

If you like folk-inflected British rock and intelligient songwriting, and aren’t yet familiar with the work of Richard Thompson, he’s like a treasure waiting your discovery.

Not only is the man among rock’s great lesser-known (especially in America) songwriters, but he’s also an absolute god of guitar, equally adept and captivating on electric or acoustic. (Don’t look for him to show off on this song, though)

Here’s a duet with then-wife Linda, who herself was on the “Queen of British Folk” short list, among the likes of Shirley Collins, Sandy Denny and Maddy Prior. Linda’s plaintive unadorned, everywoman voice suited the mournful quality of much of the material Richard wrote for her to sing.

Fans of modern-day boy-girl folk duos like The Swell Season and The Weepies, take note: you’re looking at one of the templates here.

See also: https://edcyphers.com/2013/03/09/songs-you-may-have-missed-355/

See also: https://edcyphers.com/2013/10/15/songs-you-may-have-missed-489/

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