Blog Post
Well, It’s Valentine’s Day…
by John J. Madonna
And it looks like I have two real options for a blog. While ‘t’would be slightly clichéd to do a blog on love songs, it is becoming increasingly clichéd to a blog about jilted love songs. But since I’ve already done a love songs blog, I’m just going to go ahead with the jilted love songs. Just to clarify, when I say jilted love songs, I don’t mean, you know, “Love Stinks” (I love J. Geils Band, Detroit loves J. Geils Band, but that song is an embarrassment to their career.) Everybody deals with a broken hearts in a different way, and the songs inspired by such vary from sweet to angry, triumphant to tragic. Same as last time, I’m hoping for non-obvious tunes (I mean, “Yesterday” should go without saying as tops in this category.) Now, let me think, because, gosh, there are just so few popular music songs about love…
“Somebody To Love” by Queen
“A Rose For Emily” by The Zombies
“I Can’t Give Back The Love I Feel For You” by Rita Wright—co-written by none other than Tommy Chong.
“They’ll Need A Crane” by
“Maybe I Know” by Lesley Gore—not heartache per se, but definitely not about being happily in love.
“Reign O’er Me” by The Who—a song used to perfection in the Freaks and Geeks “Dead Dogs and Gym Teachers.”
“Last Kiss” by J. Frank Wilson and The Cavaliers/Pearl Jam
“Buckets Of Rain”… scratch that, the entirety of Blood on the Tracks by Bob Dylan
“You’ve Got To Hide Your Love Away” by The Beatles
“Sad Lisa” by Cat Stevens
“Layla” by Derek And The Dominos—for those of you that don’t the know the story here, Slowhand and Pattie Boyd-Harrison-Clapton-Boyd both just wrote tell-all books. It’s just too bad the co-writer of this song (the guy who wrote that really beautiful coda) turned out to be a matricidal basket case.
“Bye, Bye Love” by The Everly Brothers/
“You’ve Lost That Loving Feeling” by The Righteous Brothers—sure we all know this song, but do we all know this song?
“I Am Waiting” by The Rolling Stones—I’m not going to lie. I don’t actually know what this song is about.
“Evil Woman” by
(Note: Due to personal illness this blog has been dictated to John’s personal assistant.)
Blog Post
Billy V. Bruce
by John J. Madonna
The Stranger is proof even if Billy Joel has an all-time best-seller, doesn't mean the critics will stop slandering him, and (something I read in a review of the album,) if “Scenes From and Italian Restaurant” had been written by Bruce Springsteen, critics would be lining up to sing its praises. Bruce and Billy are two sides of the same coin. While Springsteen plays guitar with his focus on image-laden lyrics, and Billy rocks the piano with an effortless grasp of melody. Both conjure up memories of early 60s rock (and use wailing saxophones.) Lyrically and musically, they hint to their working-class beginnings, Bruce from nowhere, New Jersey and Joel Hicksville, Long Island. Every step of their career mirrors the other, with one key difference. Critics of the time snubbed Billy but canonized Bruce.
Billy Joel’s first two records featured Billy’s piano, Western flairs, and lyrics both introspective and stories about folks on the outs, especially “Piano Man,” “Captain Jack,” and “Stop In Nevada.” Bruce’s first two records also had stories about the less than glamourous, though his lyrics bore a distinct Dylan influence. Bruce’s Greetings From Asbury Park, N.J. also heavily featured piano and felt like a singer-songwriter’s debut, much like Joel.
In 1975, Born To Run consciously drew from the music of Phil Spector and the early 60s with lyrics as an ode to teenagers and youthful freedom. Label troubles prevented any new releases for three years. Billy Joel’s Turnstiles similarly called back to Spector and maligned his own label disputes. And while Billy Joel was breaking record sales records and singles records, Bruce was dubbed the future of rock and roll.
Toward the end of the decade, Bruce got angry (Darkness On The Edge of Town.) Joel, frustrated with criticisms from punk and new wave, responded with the rocking Glass Houses. Billy grew up with The Nylon Curtain, Bruce with Born In The U.S.A. When Billy’s records started to flounder (The Bridge, 1986,) so did Bruce’s (Tunnel of Love?) Even though Bruce has since bounced back, Billy Joel seemed frustrated with negativity from the press and has focused on classical music.
And why shouldn’t he be tired? Allmusic classifies The Nylon Curtain as “Soft Rock,” despite the angst-ridden “Pressure” and the f-bomb in “Laura.” And the romance of An Innocent Man from ’83 might seem like fluff compared to the social commentary of Born In The U.S.A. from ’84, but Joel’s nostalgia doesn’t just include the songwriting. Joel and company created a near dead ringer for fifties and sixties music, and twenty-five years later An Innocent Man doesn’t sound nearly as dated as Born In The U.S.A. Maybe it’s the name. “Billy.” … All I’m saying is, Billy Joel is rules. So does Springsteen, but Billy Joel rules.
Blog Post
Margaret Truman
by Robb
Another connection to our collective recent past has died. Margaret Truman
(Daniel) daughter of former President Harry Truman died Tuesday January 29. Ms Truman was the author of the popular, mystery series “Capital Crime Series with 23 titles in total.
In addition to her writing skills Ms Truman was an accomplished singer. In 1950 her Father then President sent a now famous missive to a music critic who had trashed his daughter’s performance at Constitution Hall in Washington, D.C. Truman wrote, “I have just read your lousy review …I have never met you but if I do, you’ll need a new nose” I wonder if any of the present aspirants to the Presidency would be as candid.
Blog Post
Bruuuuuuuuuuuuuuuuuuce!
by John J. Madonna
You know, I can find a lot to hate about Born In The U.S.A. I hated The Boss for the longest time after my outrage over the title track. So much of the record irritates me—superficially: the booming music, the fat synths, the unmistakably 80s drums, the voice, adrift in a sea of echo. The title song irritates me—superficially—with redundant music and a crudely jingoistic chorus. But Springsteen is doing something here: he is critiquing the state of the country and music in 1984.
Ronnie Reagan or one of his advisers, supposedly, during his ‘84 re-election run wanted “Born In The U.S.A.” as his campaign song/Bruce Springsteen’s endorsement (“no,” was the answer on both counts.) Reagan apparently listened no further than the chorus chanting, “I was born in the U.S.A.,” as the verse sings a different a story about a troubled kid who gets drafted into Vietnam, sees his friend/brother die, watches as the Americans leave Saigon, and then returns home to an unfriendly country entering a recession. Initially, I made the same mistake Reagan did—no, not that. Come on guys; let’s keep this civil. I mean I didn’t get look below the surface to see the bombast was part of the point of the song, and, to an extent, the record.
I don’t give Springsteen too much credit; I realize not all of the fat synths and echo here are “ironic.” It was 1984 and in 1984, in a decade of mega-superhits like Thriller, Like A Virgin, and Purple Rain, major label, major artist albums sounded like this. Of course, when the title track’s unemployed, war veteran narrator roars proudly, “Born in the U.S.A.,” amid a background of sparkling synths and a firecracker drums, the record certainly has some irony.
Irony can’t carry a record alone, and Born In The U.S.A. wouldn’t work unless underneath the 80s production sheen, the songs worked (they do.) “Dancing In The Dark” seeks motivation and zeal despite being crushed by the recessed world. “No Surrender” followed by “Bobby Jean,” both very Born To Run in their idealism and salute to youth, contrast the title track, “Glory Days,” “My Hometown,” and “Downbound Train,” all very The River as songs about dreams deferred and growing up. A rather mature album, but I would just like to note that the middle-aged, post-Vietnam theme here is exactly Billy Joel’s Nylon Curtain from two years earlier. I’m not saying this is a copy, rather a nice companion.
Note: There is a strange similarity between this blog and my Sticky Fingers blog…
Blog Post
Mozart: Piano Concertos in C Major, 13 + 24.
by Employee 37
In his newly released debut recording, Pianist Martin Helmchen offers a superb, well-balanced presentation of Mozart's 13th and much beloved 24th Piano Concertos, accompanied by the Netherlands Chamber Orchestra under the conduction of Gordon Nikolic. In the words of one reviewer, "this is one of those rare and treasurable recordings where everything seems just right...this was almost like discovering the music for the first time"(Trotter, American Record Guide, Jan/Feb2008, pg. 134).
Blog Post
Pitchfork's Top 50 Albums of 2007
by manz
The annual Pitchfork staff list of the top 50 albums of 2007 has been up for a few weeks now; have you investigated yet? With 50 albums (as well as their 100 favorite songs of 2007 and the debut of the Pitchfork readers poll) there are many albums from a variety of genres. So if you’re looking for something new-ish or buzz-worthy, give it a whirl. The long list includes many we have at the AADL, some of which are:
8 Diagrams by Wu-Tang Clan
Andorra by Caribou
The Reminder by Feist
Graduation by Kanye West
Night Falls Over Kortedala by Jens Lekman
Strawberry Jam by Animal Collective
Hissing Fauna, Are You the Destroyer? By Of Montreal
Kala by M.I.A.
Sound of Silver by LCD Soundsystem
and...
Person Pitch By Panda Bear (the #1 album) (And it is indeed divine!)
Blog Post
He looks pretty good for 252
by Sarah T
Mozart turns 252 this month, and the Ann Arbor Symphony Orchestra is celebrating with a special concert featuring Orien Weiss on the piano.
Mozart's Birthday Bash will be January 26th at 8 pm at the Michigan Theater and will feature Mozart's Symphony No. 41, Piano Concerto No. 21, and the Overture to The Magic Flute.
Trying to avoid the cold until then? Check out our many biographies of Mozart. How many books about you will be in the library on your 252nd birthday?
Blog Post
Sticky Fingers: 0 out of 5 Stars… Wait, what?
by John J. Madonna
In Rolling Stone’s review of The Rolling Stones’ Sticky Fingers, critic and future Bruce Springsteen manager Jon Landau gave the number one album containing “Brown Sugar,” “Can’t You Hear Me Knockin’,” and “Wild Horses” zero out of five stars. But in fact, reading the text of the review, he writes, “The low points aren't that low, but the high points, with one exception, aren't that high,” which sounds more like a two- or three-star record. Nonetheless, he gives—in his mind—an okay record a scathing rating, because The Rolling Stones here are not The Rolling Stones he knows and loves.
The Stones waxed this record in 1971. Back in ‘69, they ousted their lead guitarist Brian Jones due to his debilitating drug addiction (soon afterward, he drowned in his pool,) their concert at Altamont Speedway culminated with the murder of a spectator by their hired security force/motorcycle gang the Hells Angels, and The Beatles disbanded (though no one would know it until 1970.) As a result, twenty-year-old guitar prodigy Mick Taylor, who’d been playing with John Mayall since seventeen, signed on. Altamont is the oft-cited end of the love fest (or illusion thereof) that was the sixties. And The Stones were introduced in concert as “The World’s Greatest Rock And Roll Band,” an undisputed title they earned, of course, through forfeiture.
The Beatles dominated The Stones (and everyone) in popularity, but each record one band released would outdo the other’s last record. The Stones had serious blues roots, but they, along with The Fab Four, experimented and toyed with new music, culminating with ‘67’s Their Satanic Majesties Request. Their ’68 and ’69 records moved back to blues, but kept elements of psychedelia, folk, country, and plenty of uniqueness. But without their creative rivals, The 70s Stones stopped growing musically. They dabbled in reggae, funk, and disco, but these moves felt less like pushing the envelope and more like attempts to stay relevant in a world that viewed them more and more as musical dinosaurs.
I agree with the spirit of Landau’s review, which was less about Sticky Fingers itself and more about The Stones as a band. But though a dissenting review is refreshing, especially from Rolling Stone, I really like Sticky Fingers (and Exile on Main St.) After that, though, they didn’t have another great record until A Bigger Bang.
Blog Post
A Mixed CD
by John J. Madonna
As I tearfully prepared my Tundra Focus to return to the Ford dealership, its lease imminently running out, I found a mix CD I'd made almost three years ago. In honor of my car, I will forgo my usual big blog today for twenty-two small ones about each track!
1. Handle With Care – The Traveling Wilburys: I had discovered The Wilburys in April of ’05, and I listened to their debut over and over on my way to Mt. Pleasant for a Dylan concert.
2. What Becomes of the Brokenhearted – Jimmy Ruffin: Having just seen Standing In The Shadows of Motown, Joan Osborne’s cover of this tune inspired me to seek out the original.
3. Step On Me – 1984: Off of a CD Borders dubiously marked an import, this late sixties group featuring pre-Queen Brian May on guitar. I hadn’t heard this song since ‘05, so rehearing it made me smile.
4....
What Is Life? – George Harrison: Such a happy song
5. – Manfred Mann’s Earth Band: I thought I lost all hard copies of this song: really my cup of meat!
6. Brother Love’s Traveling Salvation Show – Neil Diamond: Classic Neil.
7. The Backseat of My Car – Paul and Linda McCartney: A ripper off Ram I heard on Beatles Brunch (Sunday mornings on 104.3) near the beginning of my ongoing Beatles obsession.
8. Rip This Joint – The Rolling Stones: Some straight-ahead rock n’ roll from Exile.
9. Caroline, No – The Beach Boys (Brian Wilson): My roommate played a TMBG cover of this tune for me, and like “Brokenhearted,” it inspired me to seek out the real thing.
10. Positively 4th Street – Bob Dylan: Man, I love this song. On of his few non-album tracks, I never hear it because it's only on compilations.
11. We Can Work It Out – The Beatles: Paired with “4th Street,” these two songs adequately describe my very mid-sixties mood at the time.
12. Pressure Drop – : From ’96, this Toots Hibbert cover is the most recent tune here by eight years, though the gospel intro makes it feel turn-of-the-80s.
13. Mr. Blue Sky – Electric Light Orchestra: Each time they go F – Em – A – Dm – G – Em – A – Bb… I get chills.
14. Stonehenge – Spinal Tap: Where the banshees live and they do live well.
15. (I Know) I’m Losing You – The Temptations: This song exemplifies, with a tambourine on the off beats, more than anything why it was necessary for Motown to have a dedicated tambourinateer.
16. Spread Your Wings – Queen: Actually a rare (read: unauthorized) BBC rendition whose two-minute outro/jam makes this my favourite Queen recording.
17. Elenore – The Turtles: According to Wikipedia, the only Top 40 hit with “et cetera” in the lyrics.
18. Wouldn’t It Be Nice – The Beach Boys: No, Brian Wilson, it is nice.
19. Congratulations – The Traveling Wilburys: I love the vocals, but Nelson Wilbury’s slide guitar really gets me.
20. Honey, Don’t – Carl Perkins: It predates the next earliest song by ten years. Without going into too much detail this song has had a profound impact on my life.
21. Ana Ng – They Might Be Giants: TMBG, why didn’t you play this at your last concert? It’s so good.
22. It’s All Too Much – The Beatles: A psychedelic hard rock, six-minute, twenty-eight second smorgasbord that will have you chanting “Tuba, tuba, tuba, tuba” by the end.
Blog Post
Sing "Down by the Old Mill Stream" and others.
by Maxine
Have you ever wanted to sing in a barbershop quartet? Well, here's your chance. Every Monday, the Motor City Metro Chapter of the Barbershop Harmony Society invites all male singers to join the weekly rehearsals of this local barbershop harmony chorus. It's all happening at Oz's Music Environment, 1920 Packard. Free to visitors ($130 annual dues for those who join). 474-1155. Contrary to popular knowledge, barbershop harmonies originated with African-American men who formed these pick-up quartets, sometimes in front of barbershops or at other local gathering spots.