Date: Dec 12, 1970
Weeks: 2
Pop music history is riddled with songs that took a distinctive, attention-grabbing introduction, and used it to lead into a bland, ordinary, unexciting song. I'm happy to say this is not one of them, because this song manages to live up to the promise of that unique calliope opening.
The bass and sax throughline in this song is wonderfully distinctive and remarkable on its own, and when put together with the calliope make for an unmistakable and appealing song. I also enjoy how the chorus builds into a bit of choas before gathering itself together and pushing back to the calliope. It's hard to believe any pop music sound could be cohesive with an opening that sounds like it came from the circus, but this song pulls it off. I'm not surprised to learn the music was written by Stevie Wonder, because I'm starting to realize he's one of the great music writers of the 70s.
And Smokey Robinson deserves no small credit for writing lyrics that match the music's tone so well. He took that circus theme and ran with it, writing a song about a person who has a happy face metaphorically painted on, even though he's sad about a breakup. "Smiling in the public eye, but in my lonely room I cry." The sad tone of the lyrics contrast with the happy way Robinson sings them, in a way that is perfectly paired with the whole "Tears of a Clown" concept. Like the words suggest, the song isn't as happy as it might seem at first.
My verdict: Like it. This is a well-crafted and well-performed song. I just wish I could have found a cleaner mix to share, because the only thing that could improve it is a fuller bass line.
Friday, March 30, 2012
Thursday, March 29, 2012
Song #656: "Get Outta My Dreams, Get Into My Car" by Billy Ocean
Date: Apr 9, 1988
Weeks: 2
This song seems terribly miscalculated. I think the meaning is really supposed to be reflected by one of the later lyrics, "Get outta my mind, get into my life." That's what you say when you want to stop admiring someone from afar and pursue a real relationship with them.
Unfortunately, somewhere in the writing process the metaphor "Get outta my dreams, get into my car" came along. And the rest of the song was written around literalizing that metaphor as much as possible. Lyrics like "touch my bumper" and "lady driver" merge with car horn sounds and revving engines, and the result is a song that isn't serious enough to be meaningful, but doesn't quite reach the level of humorous novelty song, either. Also, what is meant by the line "get in the back seat, baby?" Is that still a metaphor, or have they abandoned all metaphorical pretensions and just tossed in a car reference for fun?
The overly bright horns and noisy percussion and synthesizer stings don't help much, either. This is a song locked into the sound of the late 80s, in a way that doesn't make much sense outside the context of 80s music. I don't care much for the female vocals, either. They seem unnecessary and designed to just complicate the sound. And then they can't even be consistent with their car metaphors, choosing to try something else with "Hey Cinderella, step in your shoe." You made the song about the car metaphor, you stick with it.
The whole "Touch my bumper [bumper]" moment is this song in a nutshell. I spent all my time listening to this song waiting for that line to repeat, because I just sort of dread how dumb that moment is, encapsulating everything that bugs me about this song.
My verdict: Don't like it. I really hope this song was written specifically for License To Drive, and that the car metaphor was written first. At least that's a commercial enterprise I can understand. Because if someone just thought the car metaphor was a good idea on an artistic level, that person was sorely mistaken.
Weeks: 2
This song seems terribly miscalculated. I think the meaning is really supposed to be reflected by one of the later lyrics, "Get outta my mind, get into my life." That's what you say when you want to stop admiring someone from afar and pursue a real relationship with them.
Unfortunately, somewhere in the writing process the metaphor "Get outta my dreams, get into my car" came along. And the rest of the song was written around literalizing that metaphor as much as possible. Lyrics like "touch my bumper" and "lady driver" merge with car horn sounds and revving engines, and the result is a song that isn't serious enough to be meaningful, but doesn't quite reach the level of humorous novelty song, either. Also, what is meant by the line "get in the back seat, baby?" Is that still a metaphor, or have they abandoned all metaphorical pretensions and just tossed in a car reference for fun?
The overly bright horns and noisy percussion and synthesizer stings don't help much, either. This is a song locked into the sound of the late 80s, in a way that doesn't make much sense outside the context of 80s music. I don't care much for the female vocals, either. They seem unnecessary and designed to just complicate the sound. And then they can't even be consistent with their car metaphors, choosing to try something else with "Hey Cinderella, step in your shoe." You made the song about the car metaphor, you stick with it.
The whole "Touch my bumper [bumper]" moment is this song in a nutshell. I spent all my time listening to this song waiting for that line to repeat, because I just sort of dread how dumb that moment is, encapsulating everything that bugs me about this song.
My verdict: Don't like it. I really hope this song was written specifically for License To Drive, and that the car metaphor was written first. At least that's a commercial enterprise I can understand. Because if someone just thought the car metaphor was a good idea on an artistic level, that person was sorely mistaken.
Wednesday, March 28, 2012
Song #367: "Thank God I'm A Country Boy" by John Denver
Date: June 7, 1975
Weeks: 1
I'm not a country boy, but I find myself charmed by this song anyway. There's a plain and simple joy present in both the writing and performance of this song that can't be denied. I think the live recording energizes it, so it was a good choice to release this recording as the single.
I really like the music here. It's basic guitar, violin, and string bass country music. Most of the percussion sounds like it comes from hand claps and foot stomps. The vocal harmonies are well-done. I enjoy the simplicity of this. That's unusual for most of the 70s music I've reviewed, where music simplicity seems to not be allowed.
The lyrics are about a country boy who is happy about his life, and his joy is infectious. "I got me a fine wife, I got my old fiddle. When the sun's coming up, I got cakes on the griddle." Sounds like a great morning to me. I like that he loves all the things that make his life good. I really like that he doesn't feel too much need to compare his life to other people and claim his way is superior. Yeah, there are a couple lines that get close to that, but for the most part it's all about how happy he is to have a family, a farm, a fiddle, and his life in general. It's not a list of things he wants or doesn't want. He aspires to nothing more than to be happy with his life the way it is, and that's appealing.
My verdict: Like it. It's catchy and fun and positive. What's not to like?
Weeks: 1
I'm not a country boy, but I find myself charmed by this song anyway. There's a plain and simple joy present in both the writing and performance of this song that can't be denied. I think the live recording energizes it, so it was a good choice to release this recording as the single.
I really like the music here. It's basic guitar, violin, and string bass country music. Most of the percussion sounds like it comes from hand claps and foot stomps. The vocal harmonies are well-done. I enjoy the simplicity of this. That's unusual for most of the 70s music I've reviewed, where music simplicity seems to not be allowed.
The lyrics are about a country boy who is happy about his life, and his joy is infectious. "I got me a fine wife, I got my old fiddle. When the sun's coming up, I got cakes on the griddle." Sounds like a great morning to me. I like that he loves all the things that make his life good. I really like that he doesn't feel too much need to compare his life to other people and claim his way is superior. Yeah, there are a couple lines that get close to that, but for the most part it's all about how happy he is to have a family, a farm, a fiddle, and his life in general. It's not a list of things he wants or doesn't want. He aspires to nothing more than to be happy with his life the way it is, and that's appealing.
My verdict: Like it. It's catchy and fun and positive. What's not to like?
Tuesday, March 27, 2012
Song #805: "Because You Loved Me" by Celine Dion
Date: Mar 23, 1996
Weeks: 6
So remember when I complained about the overproduction in the single version of "My Heart Will Go On" (#825)? Well, if you ever wondered what it would sound like if you removed the classy orchestral undercurrent from that song and left nothing but the shallow overproduction, here's your answer. Unsurprisingly, we once again have Diane Warren to thank for this.
This has all those usual cheesy power ballad hallmarks. The "tick..boom" drum, the gospel-sounding background chorus attempting to inflate the song's importance. The unnecessary strings doing the same thing. The cheesy emotionlessly emotional synth bass line. This song contains a bonus sound that really grates my brain, too. During the second verse, some instrument or another just keeps droning these monotone quarter notes. Whatever that is, it doesn't return again, so I'm not sure what the point was. I guess they wanted the song to build from start to finish and this was the only way they could think to accomplish that. I will give credit that the song does successfully build and get bigger from start to finish, so while I don't enjoy listening to it, at least the variety keeps it from being boring.
Celine Dion gives a good performance here. She's well-matched to the song, and her level of performance and showing off near the end works quite well.
The lyrics are fine, I guess. They're about how the support of someone who loves you gives you strength, especially when you need it most. I always thought the song was a little asymmetrical, with one person able being supported by another but not offering support back. But Warren supposedly wrote this song about her father, and that kind of one-directional supportive love makes more sense when it's about a parent than a romantic partner. While I don't object to the sentiment, I do think the song makes its point early and then repeats itself for the rest of its running time, and it doesn't manage to be poetic or original about it.
My verdict: Don't like it. The lyrics are okay, if bland. The singing is actually pretty good. But nothing can overcome the cheesy music.
Weeks: 6
So remember when I complained about the overproduction in the single version of "My Heart Will Go On" (#825)? Well, if you ever wondered what it would sound like if you removed the classy orchestral undercurrent from that song and left nothing but the shallow overproduction, here's your answer. Unsurprisingly, we once again have Diane Warren to thank for this.
This has all those usual cheesy power ballad hallmarks. The "tick..boom" drum, the gospel-sounding background chorus attempting to inflate the song's importance. The unnecessary strings doing the same thing. The cheesy emotionlessly emotional synth bass line. This song contains a bonus sound that really grates my brain, too. During the second verse, some instrument or another just keeps droning these monotone quarter notes. Whatever that is, it doesn't return again, so I'm not sure what the point was. I guess they wanted the song to build from start to finish and this was the only way they could think to accomplish that. I will give credit that the song does successfully build and get bigger from start to finish, so while I don't enjoy listening to it, at least the variety keeps it from being boring.
Celine Dion gives a good performance here. She's well-matched to the song, and her level of performance and showing off near the end works quite well.
The lyrics are fine, I guess. They're about how the support of someone who loves you gives you strength, especially when you need it most. I always thought the song was a little asymmetrical, with one person able being supported by another but not offering support back. But Warren supposedly wrote this song about her father, and that kind of one-directional supportive love makes more sense when it's about a parent than a romantic partner. While I don't object to the sentiment, I do think the song makes its point early and then repeats itself for the rest of its running time, and it doesn't manage to be poetic or original about it.
My verdict: Don't like it. The lyrics are okay, if bland. The singing is actually pretty good. But nothing can overcome the cheesy music.
Monday, March 26, 2012
Song #636: "La Bamba" by Los Lobos
Date: Aug 29, 1987
Weeks: 3
This is a cover from the soundtrack to a movie about a singer who recorded a rock and roll version of a traditional dance song from Mexico. Is everybody clear on that?
The original rock and roll song was recorded by Ritchie Valens. I'm not sure whether I like his version more or not. It's more organic than this remake, so it has a bit more feeling, but it's also not nearly as tidy. Personally, I think I like the Los Lobos singer better, but I like most of the instruments in the Valens version better. Well, maybe not the wood block percussion. Mostly I just want to get rid of the irritating guitar solo from the Los Lobos version. Regardless of all of that, the bottom line is that this song has a catchy tune. It will get stuck in your head. I don't understand why they added an acoustic lead-out from the song, though. Was that to tie it back to its traditional roots? Maybe, but it feels like a whole different song.
I've always wondered what the lyrics to this song meant. I've always been a little irritated by how often this song loops back to "Baila la la la bamba." Although I didn't understand the lyrics, I got the sense that they were very repetitive. And now that I've found a translation, I see that I was pretty much right. But it's really not so bad, because the lyrics are basically "dance the bamba," where the bamba is a type of dance. Then it says "a little bit of grace is needed" and "and higher and higher." Basically the lyrics are just telling you to dance. I can't really complain that a dance song lacks meaningful lyrics. The meaning is in the dancing.
My verdict: Don't like it. I'm not sure I can offer a particularly eloquent explanation beyond that its style just doesn't connect with me. And I'm not quite willing to grant latitude to a song that's been made primarily to promote a movie. I might be more charitable with Ritchie Valens version, but that song didn't reach No. 1.
Weeks: 3
This is a cover from the soundtrack to a movie about a singer who recorded a rock and roll version of a traditional dance song from Mexico. Is everybody clear on that?
The original rock and roll song was recorded by Ritchie Valens. I'm not sure whether I like his version more or not. It's more organic than this remake, so it has a bit more feeling, but it's also not nearly as tidy. Personally, I think I like the Los Lobos singer better, but I like most of the instruments in the Valens version better. Well, maybe not the wood block percussion. Mostly I just want to get rid of the irritating guitar solo from the Los Lobos version. Regardless of all of that, the bottom line is that this song has a catchy tune. It will get stuck in your head. I don't understand why they added an acoustic lead-out from the song, though. Was that to tie it back to its traditional roots? Maybe, but it feels like a whole different song.
I've always wondered what the lyrics to this song meant. I've always been a little irritated by how often this song loops back to "Baila la la la bamba." Although I didn't understand the lyrics, I got the sense that they were very repetitive. And now that I've found a translation, I see that I was pretty much right. But it's really not so bad, because the lyrics are basically "dance the bamba," where the bamba is a type of dance. Then it says "a little bit of grace is needed" and "and higher and higher." Basically the lyrics are just telling you to dance. I can't really complain that a dance song lacks meaningful lyrics. The meaning is in the dancing.
My verdict: Don't like it. I'm not sure I can offer a particularly eloquent explanation beyond that its style just doesn't connect with me. And I'm not quite willing to grant latitude to a song that's been made primarily to promote a movie. I might be more charitable with Ritchie Valens version, but that song didn't reach No. 1.
Friday, March 23, 2012
Song #337: "Can't Get Enough Of Your Love, Babe" by Barry White
Date: Sept 21, 1974
Weeks: 1
Here's a great example of a talented singer elevating a song far beyond what the music deserves. This song is full of many of the terrible hallmarks of 70s pop music, but I don't mind because Barry White is awesome.
I'm sure I don't have to extoll the virtues of White's voice. It's what he's famous for. He's universally admired for his bass voice. His voice was a plot point in an episode of The Simpsons. The talking parts are very well done, and their duration is about perfect because just as you feel you're about to get tired of them, the singing part of the song starts, and honestly I think that's the part I like more.
Musically, the song has that 70s problem where even though there are plenty of instruments, the overall sound doesn't manage to be very full. I understand that White's voice is taking up most of the bass range, but when he stops to breathe the bottom sort of falls out of the song. Without him, the music feels light and weightless. I don't care for the use of horns at all, as usual, although I suppose I do like the strings. There's something about the smoothness of the sound they provide, as compared to, say, a guitar, that works here.
The lyrics are a passionate love song, full of an emotion that is intense, but never regrettable. "Your love for me is all I need and more than I can stand." He's actually made uncomfortable by his desire for this woman, but he's not upset by it, because he knows exactly what he needs. Even the title implies this passionate intensity. "Can't get enough of your love." No matter how much love he gets, he wants more and more. There's a place in any romance for this kind of intensity once in a while.
My verdict: Like it. It's nice to see an artist whose only No. 1 is also their signature song.
Weeks: 1
Here's a great example of a talented singer elevating a song far beyond what the music deserves. This song is full of many of the terrible hallmarks of 70s pop music, but I don't mind because Barry White is awesome.
I'm sure I don't have to extoll the virtues of White's voice. It's what he's famous for. He's universally admired for his bass voice. His voice was a plot point in an episode of The Simpsons. The talking parts are very well done, and their duration is about perfect because just as you feel you're about to get tired of them, the singing part of the song starts, and honestly I think that's the part I like more.
Musically, the song has that 70s problem where even though there are plenty of instruments, the overall sound doesn't manage to be very full. I understand that White's voice is taking up most of the bass range, but when he stops to breathe the bottom sort of falls out of the song. Without him, the music feels light and weightless. I don't care for the use of horns at all, as usual, although I suppose I do like the strings. There's something about the smoothness of the sound they provide, as compared to, say, a guitar, that works here.
The lyrics are a passionate love song, full of an emotion that is intense, but never regrettable. "Your love for me is all I need and more than I can stand." He's actually made uncomfortable by his desire for this woman, but he's not upset by it, because he knows exactly what he needs. Even the title implies this passionate intensity. "Can't get enough of your love." No matter how much love he gets, he wants more and more. There's a place in any romance for this kind of intensity once in a while.
My verdict: Like it. It's nice to see an artist whose only No. 1 is also their signature song.
Thursday, March 22, 2012
Song #414: "Torn Between Two Lovers" by Mary Macgregor
Date: Feb 5, 1977
Weeks: 2
I'm a little lost on the intended interpretation of this song. The first verse sounds like this woman is sitting her significant other down and telling him she's dumping him for another man. But by the second verse she sounds like she's remembering the good times with Guy #1, and then she follows up with "With everything I feel inside, I'm asking you to stay." So possibly she's changed her mind and decided to drop Guy #2 for Guy #1. So she cheated, and now she's being wishy-washy and indecisive.
However, the other possible interpretation, and one that almost makes more sense to me, is that she's informing Guy #1 that she wants to be in an open relationship, and she wants to be with both of them. "He knows he can't possess me and he knows he never will. There's just this empty place inside of me that only he can fill." That sounds like a present-tense fact. "Loving both of you is breaking all the rules." Clearly loving both of them is exactly what she wants to do, and the only questions are whether she's willing to break the social rules and whether she can convince them to go for it. I guess a woman knowing what she wants is empowering. Unfortunately, while the open relationship idea is an interesting one to explore, I tend to think she's just wishy-washy.
Mostly I think she's wishy-washy because of the music. It's gentle music to break bad news by. It's not assertive or challenging to social norms. It's just by-the-numbers acoustic strumming, with a little light piano and super-light percussion to back it. I just noticed there are strings way in the background, too. As is all too common in the 70s, there are a lot of instruments here making very little sound.
Mary MacGregor is an okay singer, I guess. She has that very gentle vocal quality that was so common in the 70s. She doesn't express the emotional depth that Karen Carpenter does, but she also manages sincerity to a degree that Barbra Streisand can't manage. She's fine, I just wish she had better song selection.
My verdict: Don't like it. I suppose I have to give the lyrics credit for making me think about them a little. But the bland, bland music just can't carry the song, and MacGregor doesn't sufficiently elevate it.
Weeks: 2
I'm a little lost on the intended interpretation of this song. The first verse sounds like this woman is sitting her significant other down and telling him she's dumping him for another man. But by the second verse she sounds like she's remembering the good times with Guy #1, and then she follows up with "With everything I feel inside, I'm asking you to stay." So possibly she's changed her mind and decided to drop Guy #2 for Guy #1. So she cheated, and now she's being wishy-washy and indecisive.
However, the other possible interpretation, and one that almost makes more sense to me, is that she's informing Guy #1 that she wants to be in an open relationship, and she wants to be with both of them. "He knows he can't possess me and he knows he never will. There's just this empty place inside of me that only he can fill." That sounds like a present-tense fact. "Loving both of you is breaking all the rules." Clearly loving both of them is exactly what she wants to do, and the only questions are whether she's willing to break the social rules and whether she can convince them to go for it. I guess a woman knowing what she wants is empowering. Unfortunately, while the open relationship idea is an interesting one to explore, I tend to think she's just wishy-washy.
Mostly I think she's wishy-washy because of the music. It's gentle music to break bad news by. It's not assertive or challenging to social norms. It's just by-the-numbers acoustic strumming, with a little light piano and super-light percussion to back it. I just noticed there are strings way in the background, too. As is all too common in the 70s, there are a lot of instruments here making very little sound.
Mary MacGregor is an okay singer, I guess. She has that very gentle vocal quality that was so common in the 70s. She doesn't express the emotional depth that Karen Carpenter does, but she also manages sincerity to a degree that Barbra Streisand can't manage. She's fine, I just wish she had better song selection.
My verdict: Don't like it. I suppose I have to give the lyrics credit for making me think about them a little. But the bland, bland music just can't carry the song, and MacGregor doesn't sufficiently elevate it.
Wednesday, March 21, 2012
Song #778: "That's The Way Love Goes" by Janet Jackson
Date: May 15, 1993
Weeks: 8
I've said before that I prefer high-intensity songs, and that I have no use for relaxing and low-key songs. Sometimes low-key songs can work for me, but they have to include some kind of emotional intensity, a meaning that impresses me. And in order to attain that emotional intensity, such a song would need to avoid the following:
- Pitch-shifting the lead singer's voice in an obnoxiously artificial way to repetitively state the song's title over and over again. If you want to achieve this sound, hire some other singers of various ranges. And in particular, avoid making this silly choice even more intense toward the end of the song.
- An overly trite hook repeated a thousand times. "Like a moth to a flame, burned by desire." Heard it! Before I even came here. Sing something else, please.
- A musical track badly in conflict between its deep, bass-y, earthy verse and a major-chord, piano-sounding transition that never resolves into anything actually different. This entire song is like the verse build-up to a song that's actually interesting.
- Unclear pronouns in the chorus that don't even hold up on inspection of the lyrics. What's the way love goes? I suppose there's possibly an over-literal interpretation that the song just tells the story of an entire relationship, from the phase of nervous affection, to the phase of asking the other person out, to the first sexual encounter. That's the way love goes, from common point A to common point B. But then at the end the lyrics about "a moth to a flame, burned by desire" repeat, and it's not like we'd been told the relationship ended, so I don't think that interpretation actually works.
- A semi-ironic self-aware music video that spends half the time taking the song seriously, and half the time laughing about how silly it is. You can't express emotional vulnerability if you're just going to protect yourself from that vulnerability.
My verdict: Don't like it. It's not badly made overall, and Jackson sings it well, but there are a lot of weird choices that completely undermine this song.
Weeks: 8
I've said before that I prefer high-intensity songs, and that I have no use for relaxing and low-key songs. Sometimes low-key songs can work for me, but they have to include some kind of emotional intensity, a meaning that impresses me. And in order to attain that emotional intensity, such a song would need to avoid the following:
- Pitch-shifting the lead singer's voice in an obnoxiously artificial way to repetitively state the song's title over and over again. If you want to achieve this sound, hire some other singers of various ranges. And in particular, avoid making this silly choice even more intense toward the end of the song.
- An overly trite hook repeated a thousand times. "Like a moth to a flame, burned by desire." Heard it! Before I even came here. Sing something else, please.
- A musical track badly in conflict between its deep, bass-y, earthy verse and a major-chord, piano-sounding transition that never resolves into anything actually different. This entire song is like the verse build-up to a song that's actually interesting.
- Unclear pronouns in the chorus that don't even hold up on inspection of the lyrics. What's the way love goes? I suppose there's possibly an over-literal interpretation that the song just tells the story of an entire relationship, from the phase of nervous affection, to the phase of asking the other person out, to the first sexual encounter. That's the way love goes, from common point A to common point B. But then at the end the lyrics about "a moth to a flame, burned by desire" repeat, and it's not like we'd been told the relationship ended, so I don't think that interpretation actually works.
- A semi-ironic self-aware music video that spends half the time taking the song seriously, and half the time laughing about how silly it is. You can't express emotional vulnerability if you're just going to protect yourself from that vulnerability.
My verdict: Don't like it. It's not badly made overall, and Jackson sings it well, but there are a lot of weird choices that completely undermine this song.
Tuesday, March 20, 2012
Song #344: "Whatever Gets You Through The Night" by John Lennon with The Plastic Ono Nuclear Band
Date: Nov 16, 1974
Weeks: 1
I think it's really odd that this song is credited to John Lennon "with the Plastic Ono Band," when it's clearly a duet with Elton John. I spent a bit of time trying to find the correct version of this song, convinced I'd stumbled onto a later collaborative cover. But no, this really is the song that charted. And it's not like this was before Elton John was famous. Both "Benny and the Jets" (#323) and "Crocodile Rock" (#289) had topped the charts already.
Well, whatever the reason for it, I'm glad this collaboration exists. The track opens with Lennon and John laughing, and not only does it sound natural and spontaneous, like the mixer captured a spare take and threw it in to the recording, but it also sets the mood. This is a light and fun song.
I really like the instrument choices. The jazz piano and handclap percussion propel the song forward with a compelling momentum. The guitar fills out the sound and gives the song an intense energy. And of course the saxophone in the lead is spectacular. The saxophone player is long-time session musician Bobby Keys, and even though I'm not sure I can say I know his work, I'm already a fan based on his intense, wild, but clean performance here.
There aren't a lot of lyrics. I guess Lennon liked the phrase "Whatever gets you through the night" and wrote a bit of a stream-of-consciousness song around it. I can't say I really get the meaning, but that's fine.
If there's one drawback to the song it's that it's just a little bit repetitive. It's mitigated by a lot of things, like the variety of performance in both the singing and the saxophone. And the occasional halts work great to break up the song and keep it from feeling like a constant droning train ride to nowhere. But it can get a little droning at times.
My verdict: Like it. I think the flaws are more than made up for by the splendid use of all the talent involved and the careful steps taken to mitigate the repetition.
Weeks: 1
I think it's really odd that this song is credited to John Lennon "with the Plastic Ono Band," when it's clearly a duet with Elton John. I spent a bit of time trying to find the correct version of this song, convinced I'd stumbled onto a later collaborative cover. But no, this really is the song that charted. And it's not like this was before Elton John was famous. Both "Benny and the Jets" (#323) and "Crocodile Rock" (#289) had topped the charts already.
Well, whatever the reason for it, I'm glad this collaboration exists. The track opens with Lennon and John laughing, and not only does it sound natural and spontaneous, like the mixer captured a spare take and threw it in to the recording, but it also sets the mood. This is a light and fun song.
I really like the instrument choices. The jazz piano and handclap percussion propel the song forward with a compelling momentum. The guitar fills out the sound and gives the song an intense energy. And of course the saxophone in the lead is spectacular. The saxophone player is long-time session musician Bobby Keys, and even though I'm not sure I can say I know his work, I'm already a fan based on his intense, wild, but clean performance here.
There aren't a lot of lyrics. I guess Lennon liked the phrase "Whatever gets you through the night" and wrote a bit of a stream-of-consciousness song around it. I can't say I really get the meaning, but that's fine.
If there's one drawback to the song it's that it's just a little bit repetitive. It's mitigated by a lot of things, like the variety of performance in both the singing and the saxophone. And the occasional halts work great to break up the song and keep it from feeling like a constant droning train ride to nowhere. But it can get a little droning at times.
My verdict: Like it. I think the flaws are more than made up for by the splendid use of all the talent involved and the careful steps taken to mitigate the repetition.
Monday, March 19, 2012
Song #402: "You Should Be Dancing" by Bee Gees
Date: Sept 4, 1976
Weeks: 1
Finally, finally I've found a Bee Gees song that is pure, unmitigated disco fun. I don't know why it is, but for some reason I've really come around on disco and come to appreciate it as fun dance music. Maybe it's the misery of 70s pop music. Maybe it's the misery of 2000s dance music. Genuine 70s disco just seems fun in comparison, and this is a perfectly nice, fun dance song.
It helps that the lyrics aren't what I've come to know as the usual Bee Gees misery-wallowing. The lyrics are, primarily, "you should be dancing." The rest of the lyrics are about how he's in a relationship with a woman who likes to dance and tells him he should dance, too. Ordinarily I'd find this kind of repetition irritating, but in this case I find it refreshingly minimalist.
It helps that the song actually contains a surprising amount of variety. It has verses, choruses, and transitions between them. It has an instrumental bridge that gives an electric guitar and the horns a chance to shine. Then it has a section where most of the instruments fall away but the percussion gets to come to the front. The orchestration in this song is really quite good, and the variety of sounds and sections keep it entertaining for its entire length. An impressive feat considering the repetitive lyrics and the need for a dance song to keep a consistent sound going throughout.
My verdict: Like it. Disco may have been rejected by everyone after the 70s were over, but it was a genre of music that really did include some gems. This is surely one of them.
Weeks: 1
Finally, finally I've found a Bee Gees song that is pure, unmitigated disco fun. I don't know why it is, but for some reason I've really come around on disco and come to appreciate it as fun dance music. Maybe it's the misery of 70s pop music. Maybe it's the misery of 2000s dance music. Genuine 70s disco just seems fun in comparison, and this is a perfectly nice, fun dance song.
It helps that the lyrics aren't what I've come to know as the usual Bee Gees misery-wallowing. The lyrics are, primarily, "you should be dancing." The rest of the lyrics are about how he's in a relationship with a woman who likes to dance and tells him he should dance, too. Ordinarily I'd find this kind of repetition irritating, but in this case I find it refreshingly minimalist.
It helps that the song actually contains a surprising amount of variety. It has verses, choruses, and transitions between them. It has an instrumental bridge that gives an electric guitar and the horns a chance to shine. Then it has a section where most of the instruments fall away but the percussion gets to come to the front. The orchestration in this song is really quite good, and the variety of sounds and sections keep it entertaining for its entire length. An impressive feat considering the repetitive lyrics and the need for a dance song to keep a consistent sound going throughout.
My verdict: Like it. Disco may have been rejected by everyone after the 70s were over, but it was a genre of music that really did include some gems. This is surely one of them.
Friday, March 16, 2012
Song #245: "I Think I Love You" by The Partridge Family
Date: Nov 21, 1970
Weeks: 3
Technically the artist for this song is credited as "The Partridge Family Starring Shirley Jones Featuring David Cassidy." Wikipedia says it's because they were the only actual people from the Partridge Family who recorded the song.
The thing about this song that is the most striking is the minor chords used in its verses. It's kind of an unsettling and odd thing to hear in a pop song. But it is well done. The tension that they create is resolved in the chorus, and it gives the song a unique sound. It's attention-getting.
The orchestration seems a bit mired in a very safe interpretation of the music of the late 60s. By which I mostly mean that maddening tambourine. The harpsichord-sounding keyboards are also kind of bland, and I don't care for the keyboard solo in the middle at all. I do really like the bass line, though. The bass line and Cassidy's lead vocals are probably the most appealing parts of this song.
Cassidy's performance conveys a pained intensity, which is very appropriate for the lyrics. The lyrics have the singer proclaiming that he's in love with someone, and he's not entirely happy about it. "Screaming out the words I dread, 'I think I love you'." And the rest of the song helpfully attempts to explain why he's unhappy about it. "So what am I so afraid of? I'm afraid that I'm not sure of a love there is no cure for." It's an interesting take on the process of falling love, being afraid that it's not reciprocated, being afraid that you can't undo it without a lot of pain. And by the end, he's sort of come to terms with it, saying "I only want to make you happy," and "I ought to stay around and love you." It's a neat exploration of an idea, and both the vocal performance and the music are appropriate to convey the complexity of the feelings involved.
My verdict: Like it. It's surprisingly deep and complex for a song that was made primarily to promote a TV series about a singing family.
Weeks: 3
Technically the artist for this song is credited as "The Partridge Family Starring Shirley Jones Featuring David Cassidy." Wikipedia says it's because they were the only actual people from the Partridge Family who recorded the song.
The thing about this song that is the most striking is the minor chords used in its verses. It's kind of an unsettling and odd thing to hear in a pop song. But it is well done. The tension that they create is resolved in the chorus, and it gives the song a unique sound. It's attention-getting.
The orchestration seems a bit mired in a very safe interpretation of the music of the late 60s. By which I mostly mean that maddening tambourine. The harpsichord-sounding keyboards are also kind of bland, and I don't care for the keyboard solo in the middle at all. I do really like the bass line, though. The bass line and Cassidy's lead vocals are probably the most appealing parts of this song.
Cassidy's performance conveys a pained intensity, which is very appropriate for the lyrics. The lyrics have the singer proclaiming that he's in love with someone, and he's not entirely happy about it. "Screaming out the words I dread, 'I think I love you'." And the rest of the song helpfully attempts to explain why he's unhappy about it. "So what am I so afraid of? I'm afraid that I'm not sure of a love there is no cure for." It's an interesting take on the process of falling love, being afraid that it's not reciprocated, being afraid that you can't undo it without a lot of pain. And by the end, he's sort of come to terms with it, saying "I only want to make you happy," and "I ought to stay around and love you." It's a neat exploration of an idea, and both the vocal performance and the music are appropriate to convey the complexity of the feelings involved.
My verdict: Like it. It's surprisingly deep and complex for a song that was made primarily to promote a TV series about a singing family.
Thursday, March 15, 2012
Song #417: "Evergeen" by Barbra Streisand
Date: Mar 5, 1977
Weeks: 3
Before I started this blog, I really didn't care one way or the other about Barbra Streisand. But now I think she's awful. She puts all this emotion into her singing, and every bit of it sounds forced and fake and about as insincere as a singer can. Happily, this is the last time we'll be seeing her here as this is her last No. 1 song on the list.
The music in this song isn't bad. It's from the movie A Star is Born, and the intent is clearly to make a simple, timeless, elegant song for a movie. And on that level, it's a success. I don't usually stand for this much use of strings in pop music, but this really movie music, so it works here. The piano is nice, the light strummy guitar works, and the tropes of pop music are kept out, unlike what happened to "The Way We Were" (#317) . So kudos to whoever composed it, which was... Streisand herself, actually. Well, clearly she has a talent for something, anyway.
So it's up to her to ruin the song with her voice, and clearly she's up to that task. I just hate her voice so much. She takes huge breaths before she belts anything out, over-enunciates the "w" sound on "one," and can't handle any of the pitch-shifting that's required in the song on the word "Evergreen." And as usual, she's investing every syllable with way too much insincere emotion, making sure any genuine emotion remains unexpressed.
"Love soft as an easy chair." No. That's awful. Off to simile school with you. "One love that is shared by two." Yes, that's generally how love works. Two people, two loves doesn't usually work out that well. "Like a rose under the April snow, I was always certain love will grow." So you were like a rose under snow? Because that's what your misplaced modifier says. And when the lyrics aren't stupid, they're generic and meaningless, so I think I'll stop there, before my head explodes.
My verdict: Don't like it. This song won both an Oscar and a Grammy, providing further evidence for the irrelevance of both awards.
Weeks: 3
Before I started this blog, I really didn't care one way or the other about Barbra Streisand. But now I think she's awful. She puts all this emotion into her singing, and every bit of it sounds forced and fake and about as insincere as a singer can. Happily, this is the last time we'll be seeing her here as this is her last No. 1 song on the list.
The music in this song isn't bad. It's from the movie A Star is Born, and the intent is clearly to make a simple, timeless, elegant song for a movie. And on that level, it's a success. I don't usually stand for this much use of strings in pop music, but this really movie music, so it works here. The piano is nice, the light strummy guitar works, and the tropes of pop music are kept out, unlike what happened to "The Way We Were" (#317) . So kudos to whoever composed it, which was... Streisand herself, actually. Well, clearly she has a talent for something, anyway.
So it's up to her to ruin the song with her voice, and clearly she's up to that task. I just hate her voice so much. She takes huge breaths before she belts anything out, over-enunciates the "w" sound on "one," and can't handle any of the pitch-shifting that's required in the song on the word "Evergreen." And as usual, she's investing every syllable with way too much insincere emotion, making sure any genuine emotion remains unexpressed.
"Love soft as an easy chair." No. That's awful. Off to simile school with you. "One love that is shared by two." Yes, that's generally how love works. Two people, two loves doesn't usually work out that well. "Like a rose under the April snow, I was always certain love will grow." So you were like a rose under snow? Because that's what your misplaced modifier says. And when the lyrics aren't stupid, they're generic and meaningless, so I think I'll stop there, before my head explodes.
My verdict: Don't like it. This song won both an Oscar and a Grammy, providing further evidence for the irrelevance of both awards.
Wednesday, March 14, 2012
Song #152: "We Can Work It Out" by The Beatles
Date: Jan 8, 1966
Weeks: 3
This song has always bugged me a little. I really enjoy the verse and chorus. The overall sound of everything clicks together in a way that is just ideal. McCartney's voice, the drums, the guitar, and the organ all work together and it's a thing of beauty.
But then the bridge happens, twice, and it's like it's an entirely different song. The pretty, straightforward vocals are gone and replaced with an off-putting, dissonant vocal harmony. I'm sure that sound is intentional, and I don't usually have a problem with dissonance, but it doesn't quite work for me here. I think the problem is that it doesn't really resolve. The song's tempo shuffles through an awkward transition to waltz time, grinds to a halt, and then the verse picks up again suddenly as if the entire bridge was a dream. It's odd. And I'm not sure if it's supposed to have some kind of meaning within the song, or if the Beatles just did it to spice up the song. I will admit it's unique, and ear-catching, and interesting, but I'm not sure it's appealing.
The lyrics are about a couple having an argument and the singer is basically saying they need to stop fighting or their entire relationship will be at risk. "Life is very short and there's no time for fussing and fighting, my friend." It's a valuable sentiment, but I can't help noticing that he's using it as a tactic to win the argument. He's not expressing a desire to compromise. He says "Try to see it my way. Do I have to keep on talking 'til I can't go on? While you see it your way, run the risk of knowing that out love may soon be gone." That's the kind of argument style you rarely see outside of politics. We're going to ruin everything if we keep arguing, so everybody should agree with me.
My verdict: Like it. Reservations about the lyrics aside, the sound can't be beat. I'm still not sure I like the unusual bridge, but I can't deny that it's unique and attention-getting. And the verse and chorus pair just can't be beat.
Weeks: 3
This song has always bugged me a little. I really enjoy the verse and chorus. The overall sound of everything clicks together in a way that is just ideal. McCartney's voice, the drums, the guitar, and the organ all work together and it's a thing of beauty.
But then the bridge happens, twice, and it's like it's an entirely different song. The pretty, straightforward vocals are gone and replaced with an off-putting, dissonant vocal harmony. I'm sure that sound is intentional, and I don't usually have a problem with dissonance, but it doesn't quite work for me here. I think the problem is that it doesn't really resolve. The song's tempo shuffles through an awkward transition to waltz time, grinds to a halt, and then the verse picks up again suddenly as if the entire bridge was a dream. It's odd. And I'm not sure if it's supposed to have some kind of meaning within the song, or if the Beatles just did it to spice up the song. I will admit it's unique, and ear-catching, and interesting, but I'm not sure it's appealing.
The lyrics are about a couple having an argument and the singer is basically saying they need to stop fighting or their entire relationship will be at risk. "Life is very short and there's no time for fussing and fighting, my friend." It's a valuable sentiment, but I can't help noticing that he's using it as a tactic to win the argument. He's not expressing a desire to compromise. He says "Try to see it my way. Do I have to keep on talking 'til I can't go on? While you see it your way, run the risk of knowing that out love may soon be gone." That's the kind of argument style you rarely see outside of politics. We're going to ruin everything if we keep arguing, so everybody should agree with me.
My verdict: Like it. Reservations about the lyrics aside, the sound can't be beat. I'm still not sure I like the unusual bridge, but I can't deny that it's unique and attention-getting. And the verse and chorus pair just can't be beat.
Tuesday, March 13, 2012
Song #833: "One Week" by Barenaked Ladies
Date: Oct 17, 1998
Weeks: 1
It's kind of surprising to me that there is so little representation of anything from the 90s "alternative" movement on the list. I guess it wasn't as popular as all the "you can't call it 'alternative' when it's so popular" people led me to believe. This song is about as close as this list comes to a 90s alternative song. I'm sure lots of people would argue that this was the moment when Barenaked Ladies crossed over from alternative to pop, but just the fact that they were alternative before is enough to qualify. Heck, this is probably also the closest thing to a grunge song on the list, and that's pretty appalling.
At any rate, I really like this song. I think Barenaked Ladies are a fun band who walk a very fine line between They Might Be Giants-style goofy novelty songs and conventional pop music, and they wind up being good at both. I'm really impressed that their one No. 1 hit is a bit on the goofy side, too, with lines like "Watching X-Files with no lights on... I hope the Smoking Man's in this one." I love the goofy, light rap verses in this song. They're charmingly nerdy. I also respect the variety of lyrics in the chorus, and the silly construction. "You just did just what I thought you were gonna do" is a line that would feel clunky in any other song, but it fits perfectly in here. The overall meaning is kind of fun, too. It seems to be about a couple that had a fight and are on the path to making up, and the singer is telling us that they might and make up often enough that he knows how long it will take to go through their pattern and reconcile. There's no sense of tragedy to it, it's just about two people who know each other well.
The music is nicely straightforward guitar and drum 90s rock. There's some occasional punctuation by what sounds like a trumpet, but I don't detect any synthesizer here. In particular, the chords in the chorus are strong. They give the song a decent power that grabs your attention and makes you notice when the song is on. I like the contrast between the light verse and the heavy chorus. It helps the chorus feel bigger and better.
My verdict: Like it. It's just plan fun, and I think it's a great introduction to a really good band. Although I think my favorite song by them is "Falling For The First Time."
Weeks: 1
It's kind of surprising to me that there is so little representation of anything from the 90s "alternative" movement on the list. I guess it wasn't as popular as all the "you can't call it 'alternative' when it's so popular" people led me to believe. This song is about as close as this list comes to a 90s alternative song. I'm sure lots of people would argue that this was the moment when Barenaked Ladies crossed over from alternative to pop, but just the fact that they were alternative before is enough to qualify. Heck, this is probably also the closest thing to a grunge song on the list, and that's pretty appalling.
At any rate, I really like this song. I think Barenaked Ladies are a fun band who walk a very fine line between They Might Be Giants-style goofy novelty songs and conventional pop music, and they wind up being good at both. I'm really impressed that their one No. 1 hit is a bit on the goofy side, too, with lines like "Watching X-Files with no lights on... I hope the Smoking Man's in this one." I love the goofy, light rap verses in this song. They're charmingly nerdy. I also respect the variety of lyrics in the chorus, and the silly construction. "You just did just what I thought you were gonna do" is a line that would feel clunky in any other song, but it fits perfectly in here. The overall meaning is kind of fun, too. It seems to be about a couple that had a fight and are on the path to making up, and the singer is telling us that they might and make up often enough that he knows how long it will take to go through their pattern and reconcile. There's no sense of tragedy to it, it's just about two people who know each other well.
The music is nicely straightforward guitar and drum 90s rock. There's some occasional punctuation by what sounds like a trumpet, but I don't detect any synthesizer here. In particular, the chords in the chorus are strong. They give the song a decent power that grabs your attention and makes you notice when the song is on. I like the contrast between the light verse and the heavy chorus. It helps the chorus feel bigger and better.
My verdict: Like it. It's just plan fun, and I think it's a great introduction to a really good band. Although I think my favorite song by them is "Falling For The First Time."
Monday, March 12, 2012
Song #787: "The Sign" by Ace of Base
Date: Mar 12, 1994
Weeks: 6
I'll be the first to admit that these 1000 No. 1 songs aren't necessarily the best 1000 songs of the last 50 years. These are just a snapshot of the most popular song each week, and there are just so many factors that determine that. It seems pretty easy for a new artist's first song to fail to reach the top just because it takes people a while to discover it, but then their second song gets more attention because people know them now, and it's the second song that reaches the top, even if everyone agrees the first song was better. So even for a single artist, their top-ranked songs might not be their best. But sometimes the charts pull a surprise, and that's certainly the case here, because this one they got right. "The Sign" is the only No. 1 song for Ace of Base, but it's also easily their best song.
"The Sign" manages to strike just the right balance between light pop music and the bass-heavy dance music this group came to be known for. It has a catchy drum and bass beat. That synth-whistle solo that opens the song is a signature, unique hook. Put these elements together with some voice and you have a really good sound. Then there's a nicely modulated bridge section on top of that. It's catchy, varied, interesting, and over before it wears out its welcome or repeats itself too much.
I like a lot of what's going on in the lyrics. It's the story of someone who realized their relationship was going nowhere, dumped them, and how happy she is that she did. "I am happy now living without you." It's not about blame, or even the faults and failings of the other person. It's about her figuring out who she is and what she wants. "How could a person like you bring me joy?" She's taken the whole relationship as an experience to help herself figure out who she is, and good for her.
The one thing I never quite got about this song is the whole thing about "the sign." What is it? I think the video really corrupted my interpretation, because the video includes an actual symbol floating in the sky. An ankh, for some reason. But I think the sign the lyrics are referring to is just a metaphorical sign, something that happened in the relationship that clued her in that she needed to end the relationship.
My verdict: Like it. I'm not putting it in my pantheon of favorite songs I've reviewed on this blog, but it's catchy, well-crafted, and has a clear meaning. More pop songs should try to be like this one.
Weeks: 6
I'll be the first to admit that these 1000 No. 1 songs aren't necessarily the best 1000 songs of the last 50 years. These are just a snapshot of the most popular song each week, and there are just so many factors that determine that. It seems pretty easy for a new artist's first song to fail to reach the top just because it takes people a while to discover it, but then their second song gets more attention because people know them now, and it's the second song that reaches the top, even if everyone agrees the first song was better. So even for a single artist, their top-ranked songs might not be their best. But sometimes the charts pull a surprise, and that's certainly the case here, because this one they got right. "The Sign" is the only No. 1 song for Ace of Base, but it's also easily their best song.
"The Sign" manages to strike just the right balance between light pop music and the bass-heavy dance music this group came to be known for. It has a catchy drum and bass beat. That synth-whistle solo that opens the song is a signature, unique hook. Put these elements together with some voice and you have a really good sound. Then there's a nicely modulated bridge section on top of that. It's catchy, varied, interesting, and over before it wears out its welcome or repeats itself too much.
I like a lot of what's going on in the lyrics. It's the story of someone who realized their relationship was going nowhere, dumped them, and how happy she is that she did. "I am happy now living without you." It's not about blame, or even the faults and failings of the other person. It's about her figuring out who she is and what she wants. "How could a person like you bring me joy?" She's taken the whole relationship as an experience to help herself figure out who she is, and good for her.
The one thing I never quite got about this song is the whole thing about "the sign." What is it? I think the video really corrupted my interpretation, because the video includes an actual symbol floating in the sky. An ankh, for some reason. But I think the sign the lyrics are referring to is just a metaphorical sign, something that happened in the relationship that clued her in that she needed to end the relationship.
My verdict: Like it. I'm not putting it in my pantheon of favorite songs I've reviewed on this blog, but it's catchy, well-crafted, and has a clear meaning. More pop songs should try to be like this one.
Friday, March 9, 2012
Song #267: "Let's Stay Together" by Al Green
Date: Feb 12, 1972
Weeks: 1
I've probably declared a great many songs overproduced. "Make it simpler." Fewer instruments, fewer unnecessary background elements. It might give people the impression that I'd rather see every singer backed by a simple guitar, or piano, or jazz band. And yet here's a song that could benefit from just a little bit more production.
Al Green is a very talented singer, and I certainly wouldn't want to suggest that anything be done that would obscure his voice. I like some of the very delicate touches in his voice. It makes the song feel intimate. Given the subject matter, that's certainly the intent.
But an intimate song is better if it's more intense, and intensity is what this song lacks. There's not enough energy, especially in the first half of the song. The first verse is so quiet and slow that my mind wanders. It's only around the time the song gets to the verse that the energy and intensity reaches what I think is an appropriate level. The bass gets more pronounced, the brass fanfares kick in, the backup singers join in, and the song finally generates some of the emotional energy that I want it to have. But then, just when I think the song is about to reach a good level, it's over. It's like one long buildup that never got around to the payoff.
I actually really like the lyrics. It's a song about commitment to a relationship. "Loving you whether times are good or bad, happy or sad." There's no drama or despair or pain, just happy people in a happy relationship realizing how lucky they are and wanting to stay that way. On top of that, it has some of that poetry of words that just sound good together.
My verdict: Don't like it. There's certainly nothing wrong with this song, but I'm just frustrated by its lack of intensity. It seems like it just needs a little proper mixing, or a good live performance, but I can't quite find one that gets what I'm looking for.
Weeks: 1
I've probably declared a great many songs overproduced. "Make it simpler." Fewer instruments, fewer unnecessary background elements. It might give people the impression that I'd rather see every singer backed by a simple guitar, or piano, or jazz band. And yet here's a song that could benefit from just a little bit more production.
Al Green is a very talented singer, and I certainly wouldn't want to suggest that anything be done that would obscure his voice. I like some of the very delicate touches in his voice. It makes the song feel intimate. Given the subject matter, that's certainly the intent.
But an intimate song is better if it's more intense, and intensity is what this song lacks. There's not enough energy, especially in the first half of the song. The first verse is so quiet and slow that my mind wanders. It's only around the time the song gets to the verse that the energy and intensity reaches what I think is an appropriate level. The bass gets more pronounced, the brass fanfares kick in, the backup singers join in, and the song finally generates some of the emotional energy that I want it to have. But then, just when I think the song is about to reach a good level, it's over. It's like one long buildup that never got around to the payoff.
I actually really like the lyrics. It's a song about commitment to a relationship. "Loving you whether times are good or bad, happy or sad." There's no drama or despair or pain, just happy people in a happy relationship realizing how lucky they are and wanting to stay that way. On top of that, it has some of that poetry of words that just sound good together.
My verdict: Don't like it. There's certainly nothing wrong with this song, but I'm just frustrated by its lack of intensity. It seems like it just needs a little proper mixing, or a good live performance, but I can't quite find one that gets what I'm looking for.
Thursday, March 8, 2012
Song #754: "The Promise Of A New Day" by Paula Abdul
Date: Sept 14, 1991
Weeks: 1
I mentioned before that Paula Abdul's album Forever Your Girl was a great album filled with winning songs. But her second album, Spellbound, was a huge letdown. I don't know if there was a major change in production staff or writing staff, or if the success of the first album caused Abdul to think she needed to make music that was more "important." But for whatever reason, songs from her second album just don't feel as natural as songs from her first. I'll have more to say about "Rush Rush" (#751) at a later date. But "Blowing Kisses In The Wind" feels like it was forced to be a slower song than it should have been, as if that would amplify its importance. "Will You Marry Me?" seems like it was carefully calculated to be a royalty-earning perennial for wedding DJs. And "Vibeology" feels like it was performed by an artist trying to do a pale imitation of Paula Abdul's first album.
All of that is the long way of emphasizing the point that at the time, I really liked "The Promise Of A New Day." It was hands down the best single from the second album of an artist whose first album I really liked. Even so, it's heavily, heavily flawed.
I mentioned before that Paula Abdul's voice is whiny, and she's really stretching herself beyond her talents here. I appreciate the passion that is communicated when she stretches herself too far, but it still grates on the ears more than a little. She's not quite the singer this song needs for some of the upper range vocals. She spends a lot of this song singing duet with herself anyway. I'd love to hear her duet with Janet Jackson instead. That would be a great fit for both of them.
The next obvious problem you'll notice is that there's not a lot of material here. The song doesn't have very many lyrics. You'll get "Pro- Promise. Promise of a new day" stuck in your head just from hearing the song one time. And I listen to these songs several times while writing these reviews. I'm going to have this in my head for a week. Backing lyrics aside, the song repeats everything it has over and over, just to fill out the running time. After 3 minutes, the song feels like it has reached a natural conclusion, but then it repeats every lyric in the song just to extend itself out to another minute. This song wears out its welcome very quickly.
The music has a little bit more variety than the lyrics. I actually like a lot about the music. Somehow all that fake synthesizer, drum-kit sound works together to create a whole sound that works. I think it's the upbeat sound and high energy that makes it work. I really like a lot of the transitions. The song constantly feels like it's transitioning to something bigger and more energetic. But ultimately the music has the same problem as the lyrics, going on well after the song has reached a natural end.
My verdict: Don't like it. This song is catchy, to be sure, and it might be perfectly enjoyable background music. But pop music needs to work when you actually give it your attention, too, and this song just doesn't.
Weeks: 1
I mentioned before that Paula Abdul's album Forever Your Girl was a great album filled with winning songs. But her second album, Spellbound, was a huge letdown. I don't know if there was a major change in production staff or writing staff, or if the success of the first album caused Abdul to think she needed to make music that was more "important." But for whatever reason, songs from her second album just don't feel as natural as songs from her first. I'll have more to say about "Rush Rush" (#751) at a later date. But "Blowing Kisses In The Wind" feels like it was forced to be a slower song than it should have been, as if that would amplify its importance. "Will You Marry Me?" seems like it was carefully calculated to be a royalty-earning perennial for wedding DJs. And "Vibeology" feels like it was performed by an artist trying to do a pale imitation of Paula Abdul's first album.
All of that is the long way of emphasizing the point that at the time, I really liked "The Promise Of A New Day." It was hands down the best single from the second album of an artist whose first album I really liked. Even so, it's heavily, heavily flawed.
I mentioned before that Paula Abdul's voice is whiny, and she's really stretching herself beyond her talents here. I appreciate the passion that is communicated when she stretches herself too far, but it still grates on the ears more than a little. She's not quite the singer this song needs for some of the upper range vocals. She spends a lot of this song singing duet with herself anyway. I'd love to hear her duet with Janet Jackson instead. That would be a great fit for both of them.
The next obvious problem you'll notice is that there's not a lot of material here. The song doesn't have very many lyrics. You'll get "Pro- Promise. Promise of a new day" stuck in your head just from hearing the song one time. And I listen to these songs several times while writing these reviews. I'm going to have this in my head for a week. Backing lyrics aside, the song repeats everything it has over and over, just to fill out the running time. After 3 minutes, the song feels like it has reached a natural conclusion, but then it repeats every lyric in the song just to extend itself out to another minute. This song wears out its welcome very quickly.
The music has a little bit more variety than the lyrics. I actually like a lot about the music. Somehow all that fake synthesizer, drum-kit sound works together to create a whole sound that works. I think it's the upbeat sound and high energy that makes it work. I really like a lot of the transitions. The song constantly feels like it's transitioning to something bigger and more energetic. But ultimately the music has the same problem as the lyrics, going on well after the song has reached a natural end.
My verdict: Don't like it. This song is catchy, to be sure, and it might be perfectly enjoyable background music. But pop music needs to work when you actually give it your attention, too, and this song just doesn't.
Wednesday, March 7, 2012
Song #548: "Hello" by Lionel Richie
Date: May 12, 1984
Weeks: 2
I spent a year imagining what review I would do for the first anniversary of my blog. I finally decided to just note the occasion and let the random number generator carry on. But apparently the random number generator felt the need to mark the milestone, too. So for review number 201, I randomly got tasked to review my second song by the very first artist I reviewed, Lionel Richie. I couldn't have found a better review topic if I'd come up with one intentionally.
On the other hand, I don't care for this song. It's just so slow and painfully earnest that I can't quite take it seriously. I think it's mostly the combination of the really soft and gentle piano and Richie's loudly-whispered vocals that really gets me. Then factor in the synthesized flute that plays throughout and I just avoid getting a creepy vibe from this song.
Not helping the creepy vibe is the lyrics. "I've been alone with you inside my mind. And in my dreams I've kissed your lips a thousand times." This isn't about love as much as it's about obsession. And it just goes on from there. There's something about the line "I long to see the sunlight in your hair" that gets me. It sounds like something a troll or vampire or other mythical creature that literally can't go out in sunlight would say to the object of their obsession. And then, even if I ignore all that, I'm left with the chorus "I want to tell you so much, I love you." Okay, so... why don't you? Seriously, what's stopping the singer of this song from telling the other person how he feels? The song doesn't even attempt an explanation. My best guess is plain old fear of rejection. So he writes a song that explores that fear of rejection without even the self-awareness to name it. He doesn't write a song explaining why he's in love with this person specifically. He clearly doesn't even know them very well: "I wonder where you are, and I wonder what you do." I suppose exploring this kind of obsession and a crippling fear of rejection is valid material for a song, but the fact that this seems to be intended as a love song makes it comes off creepy.
Which brings me back to the music, because the minor chords and synthesized, soft instruments just amplify the creepiness. This live rendition isn't nearly as creepy, because of increased use of natural instruments. The piano isn't as quiet, and Richie's voice isn't as whispery. It feels a bit more authentic and genuine.
My verdict: Don't like it. Even if I decided to ignore the intended message and tried to enjoy it as a song about obsession, the instrumentation just makes this song a chore to listen to, rather than fun.
Weeks: 2
I spent a year imagining what review I would do for the first anniversary of my blog. I finally decided to just note the occasion and let the random number generator carry on. But apparently the random number generator felt the need to mark the milestone, too. So for review number 201, I randomly got tasked to review my second song by the very first artist I reviewed, Lionel Richie. I couldn't have found a better review topic if I'd come up with one intentionally.
On the other hand, I don't care for this song. It's just so slow and painfully earnest that I can't quite take it seriously. I think it's mostly the combination of the really soft and gentle piano and Richie's loudly-whispered vocals that really gets me. Then factor in the synthesized flute that plays throughout and I just avoid getting a creepy vibe from this song.
Not helping the creepy vibe is the lyrics. "I've been alone with you inside my mind. And in my dreams I've kissed your lips a thousand times." This isn't about love as much as it's about obsession. And it just goes on from there. There's something about the line "I long to see the sunlight in your hair" that gets me. It sounds like something a troll or vampire or other mythical creature that literally can't go out in sunlight would say to the object of their obsession. And then, even if I ignore all that, I'm left with the chorus "I want to tell you so much, I love you." Okay, so... why don't you? Seriously, what's stopping the singer of this song from telling the other person how he feels? The song doesn't even attempt an explanation. My best guess is plain old fear of rejection. So he writes a song that explores that fear of rejection without even the self-awareness to name it. He doesn't write a song explaining why he's in love with this person specifically. He clearly doesn't even know them very well: "I wonder where you are, and I wonder what you do." I suppose exploring this kind of obsession and a crippling fear of rejection is valid material for a song, but the fact that this seems to be intended as a love song makes it comes off creepy.
Which brings me back to the music, because the minor chords and synthesized, soft instruments just amplify the creepiness. This live rendition isn't nearly as creepy, because of increased use of natural instruments. The piano isn't as quiet, and Richie's voice isn't as whispery. It feels a bit more authentic and genuine.
My verdict: Don't like it. Even if I decided to ignore the intended message and tried to enjoy it as a song about obsession, the instrumentation just makes this song a chore to listen to, rather than fun.
Tuesday, March 6, 2012
Milestone: 1st Anniversary, and 200 reviews
Well, here we are, one year (and a few days) into the project. I haven't kept up the pace I wanted to, although posting a review every single day, including weekends, was overly optimistic of me. But at least with 200 reviews, I can look back satisfied that I've made a good dent in the list.
I've liked 90 of the 200 songs, and not liked 110 songs. I'm actually surprised it's that close to equal. I really expected to dislike a lot more songs. Maybe hearing some of the truly terrible songs I've heard has relaxed my standards. Maybe listening to all this pop music has made me start to like songs I never would have liked before. My theory is that sometimes, sitting down and actually giving a pop song your undivided attention can actually improve your perception of it. If nothing else, sometimes that causes me to respect a song even if I don't like it all that much.
So how do the results break down by decade?
(1950s: Like 1, Don't like 4. Decade score: 20%)
1960s: Like 24, Don't like 21. Decade score: 53%
1970s: Like 20, Don't like 28. Decade score: 42%
1980s: Like 25, Don't like 22. Decade score: 53%
1990s: Like 10, Don't like 16. Decade score: 38%
2000s: Like 9, Don't like 17. Decade score: 35%
(2010s: Like 1, Don't like 2. Decade score: 33%)
I would have guessed that the 60s and 80s would wind up with the most favorable ratios, and by quite a bit. It seems to me that good music and popular music were closer together then. I know there's plenty of great rock and roll from the 1970s, but little of it reached that No. 1 spot. And I still remember the day I went through the list looking for the first Grunge No. 1 of the 90s (there's isn't one).
It's interesting to look at some of that data, though. I think it's particularly fascinating how many fewer No. 1 songs there were in the 90s and 2000s, as compared to the 60s, 70s, and 80s. I know it could be randomness skewing my sample, but I also know that it took 5 years to get songs 1-100 on the list (1958-1963), but took 9 years to get songs 801-900 (1995-2004). Songs stayed at the top of the charts longer past the 90s. Some of that is due to shifting tastes. A lot of it is due to changing rules about how the charts are calculated, too, and the cultural music shifts that accompanied that.
As for my favorite and least favorite songs I've reviwed, those are both surprisingly easy:
My favorite song so far is still "I Love Rock 'N Roll" by Joan Jett & The Blackhearts (#514). It's a solid, energetic rock song. Since I reviewed it, I have actually purchased two Joan Jett albums, I Love Rock 'N Roll and Bad Reputation. The title tracks to the two albums are the best songs on each, although I do also love her punk rock cover of the rock classic "Shout."
Runner-up favorite song: "So What" by Pink (#964). Every pop song should be this lovingly crafted and emotionally impacting.
My least favorite song remains "Drop It Like It's Hot" by Snoop Dog featuring Pharrell (#910). It's an unpleasant, atonal mess of grating sounds that is barely music. I seriously doubt any other song on the list will unseat this one.
And that's that. The first 200 songs, and the first year. Here's looking forward to the next 200 songs and the next year.
I've liked 90 of the 200 songs, and not liked 110 songs. I'm actually surprised it's that close to equal. I really expected to dislike a lot more songs. Maybe hearing some of the truly terrible songs I've heard has relaxed my standards. Maybe listening to all this pop music has made me start to like songs I never would have liked before. My theory is that sometimes, sitting down and actually giving a pop song your undivided attention can actually improve your perception of it. If nothing else, sometimes that causes me to respect a song even if I don't like it all that much.
So how do the results break down by decade?
(1950s: Like 1, Don't like 4. Decade score: 20%)
1960s: Like 24, Don't like 21. Decade score: 53%
1970s: Like 20, Don't like 28. Decade score: 42%
1980s: Like 25, Don't like 22. Decade score: 53%
1990s: Like 10, Don't like 16. Decade score: 38%
2000s: Like 9, Don't like 17. Decade score: 35%
(2010s: Like 1, Don't like 2. Decade score: 33%)
I would have guessed that the 60s and 80s would wind up with the most favorable ratios, and by quite a bit. It seems to me that good music and popular music were closer together then. I know there's plenty of great rock and roll from the 1970s, but little of it reached that No. 1 spot. And I still remember the day I went through the list looking for the first Grunge No. 1 of the 90s (there's isn't one).
It's interesting to look at some of that data, though. I think it's particularly fascinating how many fewer No. 1 songs there were in the 90s and 2000s, as compared to the 60s, 70s, and 80s. I know it could be randomness skewing my sample, but I also know that it took 5 years to get songs 1-100 on the list (1958-1963), but took 9 years to get songs 801-900 (1995-2004). Songs stayed at the top of the charts longer past the 90s. Some of that is due to shifting tastes. A lot of it is due to changing rules about how the charts are calculated, too, and the cultural music shifts that accompanied that.
As for my favorite and least favorite songs I've reviwed, those are both surprisingly easy:
My favorite song so far is still "I Love Rock 'N Roll" by Joan Jett & The Blackhearts (#514). It's a solid, energetic rock song. Since I reviewed it, I have actually purchased two Joan Jett albums, I Love Rock 'N Roll and Bad Reputation. The title tracks to the two albums are the best songs on each, although I do also love her punk rock cover of the rock classic "Shout."
Runner-up favorite song: "So What" by Pink (#964). Every pop song should be this lovingly crafted and emotionally impacting.
My least favorite song remains "Drop It Like It's Hot" by Snoop Dog featuring Pharrell (#910). It's an unpleasant, atonal mess of grating sounds that is barely music. I seriously doubt any other song on the list will unseat this one.
And that's that. The first 200 songs, and the first year. Here's looking forward to the next 200 songs and the next year.
Monday, March 5, 2012
Song #614: "You Give Love A Bad Name" by Bon Jovi
Date: Nov 29, 1986
Weeks: 1
This song is arguably the best example of rock music in the late 80s.
The music has it all, strong electric guitars, heavy but well-used synth keyboards, a poundy 80s drum that mixes well with the rest of the music, rocking bass, and sheer exuberant energy. The synths may date the song, but they work as a piece of the whole.
The vocals are also matched to the music just right. They have that defiant edge and enthusiastic energy that an 80s rock song needs to have. Jon Bon Jovi walks a line between singing and yelling, without ever crossing over the line and becoming screechy.
There aren't a lot of lyrics here. I think they were trying to spend as much time on the crowd-pleasing chorus and as little time as possible in the verses. The music doesn't suffer for it, but there aren't a lot of lyrics to analyze. The picture I get is the a guy in a complicated relationship with a lot of drama. "You promise me heaven but put me through hell." I suppose I've seen a lot of that sort of thing doing this list. But for once, I don't think this guy minds. "No one can save me, the damage is done." I think he finds it appealing. Certainly, that's what Jon Bon Jovi's tone of voice is telling me.
My verdict: Like it. If there's a more persuasive example of the value of late 80s rock, I haven't found it yet.
Weeks: 1
This song is arguably the best example of rock music in the late 80s.
The music has it all, strong electric guitars, heavy but well-used synth keyboards, a poundy 80s drum that mixes well with the rest of the music, rocking bass, and sheer exuberant energy. The synths may date the song, but they work as a piece of the whole.
The vocals are also matched to the music just right. They have that defiant edge and enthusiastic energy that an 80s rock song needs to have. Jon Bon Jovi walks a line between singing and yelling, without ever crossing over the line and becoming screechy.
There aren't a lot of lyrics here. I think they were trying to spend as much time on the crowd-pleasing chorus and as little time as possible in the verses. The music doesn't suffer for it, but there aren't a lot of lyrics to analyze. The picture I get is the a guy in a complicated relationship with a lot of drama. "You promise me heaven but put me through hell." I suppose I've seen a lot of that sort of thing doing this list. But for once, I don't think this guy minds. "No one can save me, the damage is done." I think he finds it appealing. Certainly, that's what Jon Bon Jovi's tone of voice is telling me.
My verdict: Like it. If there's a more persuasive example of the value of late 80s rock, I haven't found it yet.
Friday, March 2, 2012
In Memoriam: Davy Jones
Release date: Mar 6, 1967
Peak Chart Position: #2
I haven't gotten to the Monkees yet, but I will. I enjoy their music. Their songs may have been derivative of the Beatles, but at least they were copying something that was worth having more of. And their songs were always well-crafted.
Davy Jones was an important part of the group. He was often considered "the cute one," and I was more drawn to the other guys who seemed to have more colorful characters on the TV show. But in retrospect I realize he was just as good with a joke as the others.
I also think he was their best singer, and this song is a good example of the kind of melodies he could sing that the other guys didn't necessarily achieve when they took their turns at the microphone. I'm not sure this song is the best example, but the best example is a No. 1 song that we'll get to eventually. Anyway, he was an important part of a group whose importance in pop music history is often underestimated.
Peak Chart Position: #2
I haven't gotten to the Monkees yet, but I will. I enjoy their music. Their songs may have been derivative of the Beatles, but at least they were copying something that was worth having more of. And their songs were always well-crafted.
Davy Jones was an important part of the group. He was often considered "the cute one," and I was more drawn to the other guys who seemed to have more colorful characters on the TV show. But in retrospect I realize he was just as good with a joke as the others.
I also think he was their best singer, and this song is a good example of the kind of melodies he could sing that the other guys didn't necessarily achieve when they took their turns at the microphone. I'm not sure this song is the best example, but the best example is a No. 1 song that we'll get to eventually. Anyway, he was an important part of a group whose importance in pop music history is often underestimated.
Thursday, March 1, 2012
Song #722: "She Ain't Worth It" by Glenn Medeiros featuring Bobby Brown
Date: July 21, 1990
Weeks: 2
Apparently we're continuing with superstar collaboration week, although the amplitude of the stars has been sharply turned down. Bobby Brown is at least pretty well known, but Glenn Medeiros is probably best known as the guy from the cheesy and soft "Nothing's Gonna Change My Love For You."
Medeiros is a decent singer, but you wouldn't know it from this song. All he does is rasp and strain his voice in a fairly flat way. A lot of this song is sung in a sort of monotone. And when he does get to the chorus and try to sing a little bit more, he sounds out of his range.
Musically, the song sounds a lot like any other Bobby Brown song. It's a bunch of synth chords and drum machine drums. There isn't a lot of variety in Bobby Brown's music from this time. In fact, this song sounds a lot like "Every Little Step" to me. It's not that the music in this song is bad, it's just that it sounds just like every other song in this genre. Bobby Brown has an energy that can make these songs work, but since he only contributes one rap verse to the song, I find it lacking.
The lyrics are the singer complaining that he's had his feelings hurt by a woman who doesn't love him back. Not all that different from yesterday, come to think of it. I guess the difference here is that he's able to be a little more honest because he's just complaining to his friends, rather than to her directly. Also, he's really tearing her down just because she doesn't like him back. Blaming the woman because he likes her. Bobby Brown's rap verse probably has the lyric that bugs me most. "One thing I hate is when a girl plays fake and tries to make me late for another date." I guess there's nothing wrong with dating around, but if you're scheduling two dates so close together, you take your chances and make your choices.
My verdict: Don't like it. Bobby Brown has better songs. Glenn Medeiros may not be the greatest singer in the world, but the talent he has is wasted here.
Weeks: 2
Apparently we're continuing with superstar collaboration week, although the amplitude of the stars has been sharply turned down. Bobby Brown is at least pretty well known, but Glenn Medeiros is probably best known as the guy from the cheesy and soft "Nothing's Gonna Change My Love For You."
Medeiros is a decent singer, but you wouldn't know it from this song. All he does is rasp and strain his voice in a fairly flat way. A lot of this song is sung in a sort of monotone. And when he does get to the chorus and try to sing a little bit more, he sounds out of his range.
Musically, the song sounds a lot like any other Bobby Brown song. It's a bunch of synth chords and drum machine drums. There isn't a lot of variety in Bobby Brown's music from this time. In fact, this song sounds a lot like "Every Little Step" to me. It's not that the music in this song is bad, it's just that it sounds just like every other song in this genre. Bobby Brown has an energy that can make these songs work, but since he only contributes one rap verse to the song, I find it lacking.
The lyrics are the singer complaining that he's had his feelings hurt by a woman who doesn't love him back. Not all that different from yesterday, come to think of it. I guess the difference here is that he's able to be a little more honest because he's just complaining to his friends, rather than to her directly. Also, he's really tearing her down just because she doesn't like him back. Blaming the woman because he likes her. Bobby Brown's rap verse probably has the lyric that bugs me most. "One thing I hate is when a girl plays fake and tries to make me late for another date." I guess there's nothing wrong with dating around, but if you're scheduling two dates so close together, you take your chances and make your choices.
My verdict: Don't like it. Bobby Brown has better songs. Glenn Medeiros may not be the greatest singer in the world, but the talent he has is wasted here.
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