music Archives - Page 108 of 268 - Ramblin' with Roger

Singer/guitarist Bonnie Raitt is 70

The Road’s My Middle Name

Because I hitchhiked to New Paltz, I first heard of Bonnie Raitt. I had traveled from Binghamton to visit my girlfriend in May 1971. But when I got there, she had decided to break up with me. I was devastated.

There wasn’t enough daylight to hitch back home. Instead, I went to visit my friend Steve in Poughkeepsie, in the next county over. We had gone to Binghamton Central High School before he moved.

Steve talked at length about this great bluesy singer and guitarist named Bonnie Raitt, who I had never heard of. He predicted great things of her. Her eponymous first album, which came out in November 1971 sold poorly, though it reviewed well. I never bought it.

Bonnie’s second album, Give It Up, I LOVED. It got all the way up to #138 on the US album charts. The subsequent albums improved commercially up to 1977’s Sweet Forgiveness at #25. But her next albums sank, never improving on the charts.

Warner purge

In 1983, the year after I saw her at the No Nukes concert, “There was a corporate sweep at Warner’s… and they needed to trim the fat,’ Raitt recalled in 1990. ‘I just had completed an album called Tongue & Groove… I don’t think they maliciously said, ‘Let’s let her finish her album and get the tour all lined up and print the covers and hire the people to do the video and then drop her.’ You know, ha, ha, ha. But that’s what they did.

“‘It was literally the day after I had finished mastering it… They dropped me and pulled the rug out from under my tour. I thought the way they did it was real crummy. They sent a letter. I think I suffered from not having a relationship with the A&R department there, because I had an independent production deal…’

“The material for Tongue & Groove was shelved until two years later when ‘Warner’s suddenly said they were going to put the record out,’ Raitt recalled… I mean, I was out there touring on my savings to keep my name up, and my ability to draw was less and less. So they agreed to let me go in and recut half of it.’ The result was Nine Lives, which was finally released in 1986” to tepid reviews and worse sales.

Capitol signing

After seeing her perform, Prince “offered Bonnie Raitt a recording contract on his own label, Paisley Park Records. Raitt agreed and traveled to Minneapolis. Before she recorded any material, she suffered a skiing accident and was hospitalized for two months.” The Paisley Park deal fell through.

Then Capitol Records signed her after over a dozen other labels passed on her. She put out the Nick of Time album in 1989, which went to #1 on the US album charts, sold over five million copies and was named Album of the Year by the Grammys.

The followup album in 1991, Luck of the Draw, went to #2 in the US, sold seven million copies and generated a Top 10 single. 1994’s Longing in Their Hearts went to #1, sold two million copies and contained a Top 20 single. Five subsequent albums, all of which I own, have each reached the Top 20 on the album charts.

LISTEN

Sugar Mama (5)
No Way to Treat A Lady (9), a Bryan Adams song
The Road’s My Middle Name (10), a Bonnie Raitt song about how she survived
I Can’t Make You Love Me (11), #18 in 1992

Runaway (6), the Del Shannon hit, #57 in 1977
You (12), #92 in 1994
Angel From Montgomery (4), the John Prine song they’ve done live together

Love Me Like a Man (2); lyrics adapted by Raitt
Love Has No Pride (2)
My, there are a lot of “love” songs on this list!
Love Letter (10), one of two Bonnie Hayes songs on the list

Love Sneakin’ Up On You (12), #19 in 1994
Thing Called Love (10), a John Hiatt song
Something to Talk About (11), #5 in 1991

Too Long at the Fair (2)
Have a Heart (10), the other Bonnie Hayes song, #49 in 1990. It has one of my favorite first lines in any song. “Hey, shut up. Don’t lie to me.”
Dimming of the Day (12), a Richard Thompson song
Give It Up Or Let Me Go (2), a Bonnie Raitt song
The last four are probably my top 4; the last seven are probably my top 7.

(2) Give It Up; (4) Streetlights; (5) Home Plate; (6) Sweet Forgiveness; (9) Nine Lives; (10) Nick of Time; (11) Luck of the Draw; (12) Longing in Their Hearts

Composer David Foster turns 70

Betty Boop musical?!

Usually, I write the 70th birthday thing for people whose work/life I admire greatly. Occasionally, it’s about people I don’t like at all. I’m just fascinated by the frequency of David Foster in the liner notes I’ve read.

His Wikipedia page notes that he has been a record “producer for Chaka Khan, Alice Cooper, Christina Aguilera, Andrea Bocelli, Toni Braxton, Michael Bublé, Chicago, Natalie Cole, Celine Dion, Kenny G, Josh Groban, Brandy Norwood, Whitney Houston, Jennifer Lopez, Kenny Rogers, Seal, Rod Stewart, Jake Zyrus, Donna Summer, Olivia Newton-John, Madonna, Mary J. Blige, Michael Jackson, Peter Cetera, Cheryl Lynn, Blake Shelton, and Barbra Streisand.” Also the Corrs, Kenny Loggins, and a bunch more.

He often wrote or co-wrote songs on the albums he produced. In 1985, Rolling Stone magazine named Foster the “master of … bombastic pop kitsch.” I would not argue that.

David Foster is a Canadian who has been married five times. He married Katharine McPhee of American Idol fame on June 28, 2019. He has five biological daughters, plus a bunch of step-kids.

“I believe that everyone gets three rounds in their life.” He was first “a studio musician, arranger, and recording artist. His second round was becoming one of the most successful songwriters and record producers in history — shepherding albums that have collectively sold in the hundreds of millions.

“This period of his four-decade career also found him creating The David Foster Foundation and volunteering his time and talent to over 400 charities, as well as becoming a household name as a performer throughout Asia where he tours annually.

“For his third round, Foster is gearing up to take on Broadway with several projects. These include writing the music for a new musical about the iconic, animated character Betty Boop, which will be directed by Tony Award-winner Jerry Mitchell.

“He is writing the music for a musical based on the Amy Bloom novel and New York Times bestseller Lucky Us, directed by Tony Award-nominee Sheryl Kaller. Foster is also developing a scripted narrative one-man show based on the story of his career that he will perform himself.” Meanwhile, he’ll be doing a North American tour in 2020.

LISTEN

Wildflower – Skylark
After The Love Has Gone – Earth, Wind & Fire
Talk to Ya Later – The Tubes
She’s A Beauty – The Tubes

Breakdown Dead Ahead – Boz Scaggs
JoJo Boz Scaggs
Look What You’ve Done To Me – Boz Scaggs

Tears Are Not Enough – Northern Lights, a group of Canadian artists such as Joni Mitchell, Neil Young, Bryan Adams, and others in similar fashion to the UK’s “Do They Know It’s Christmas?” and the USA’s “We Are the World”.

Hard to Say I’m Sorry – Chicago
Love Me Tomorrow – Chicago
Stay The Night– Chicago
You’re the Inspiration – Chicago
Glory of Love – Peter Cetera

Love Theme from St. Elmo’s Fire – David Foster
St Elmo’s Fire (Man In Motion) – John Parr
The Price Of Love– Roger Daltrey (“The Secret Of My Success”, 1987)
I Have Nothing – Whitney Houston (The Bodyguard, 1992)

There’s a ton more, but you get the idea. David Foster turns 70 today.

1 Corinthians in Handel’s Messiah

Behold, I tell you a mystery

1 Corinthians 15-55 One of the few things I have added to my list of things to do is attending a weekly Bible study at my church. The group was in the midst of reading the Koran in the first part of the sessions; interesting stuff.

The second half was reading the Bible, specifically, when I started, 1 Corinthians. This is the book that contains that reading of Chapter 13 that is used so often at weddings, though the King James Version ends with “And now abideth faith, hope, charity, these three; but the greatest of these is charity.” But the Revised Standard Version and most later translations conclude with “So faith, hope, love abide, these three; but the greatest of these is love.”

Chapter 15 is quite familiar as well. “The center of Part III [of Handel’s Messiah] is a sequence of six movements based on a passage from Paul’s First Epistle to the Corinthians on the resurrection of the dead, a passage that Brahms also chose for Ein deutsches Requiem.”

As I happen to be the reader in Bible study,

it was VERY difficult NOT to break into song!

46 Since by man came death (Chorus) 1 Corinthians 15:21–22
For since by man came death, by man came also the resurrection of the dead.
For as in Adam all die, even so in Christ shall all be made alive.

47 Behold, I tell you a mystery (Acc. B) 1 Corinthians 15:51–52 Resurrection of the dead
48 The trumpet shall sound and the dead shall be rais’d (Air B) 15:52–53
Behold, I shew you a mystery; We shall not all sleep, but we shall all be changed,
In a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
For this corruptible must put on incorruption, and this mortal must put on immortality.

49 Then shall be brought to pass (Rec. A) 1 Corinthians 15:54 Victory over death
50 O death, where is thy sting? (Duet A) 15:55–56
51 But thanks be to God (Chorus) 15:57
So when this corruptible shall have put on incorruption, and this mortal shall have put on immortality, then shall be brought to pass the saying that is written, Death is swallowed up in victory.
O death, where is thy sting? O grave, where is thy victory?
The sting of death is sin; and the strength of sin is the law.
But thanks be to God, which giveth us the victory through our Lord Jesus Christ.

Here’s the entire Part III of Handel Messiah, including 45. I know that my Redeemer liveth (Air S) from Job 19:25–26; 52. If God be for us, who can be against us (Air S) from Romans 8:31,33–34; and 53. Worthy is the Lamb that was slain/Amen (Chorus) from Revelation 5:12–13.

LISTEN to:
Various artists
The Bach Choir & Orchestra of the Netherlands, Pieter Jan Leusink

Musical review: SpongeBob SquarePants

The dance will remind old-timers of Tommy Tune

The first show in the 2019-2020 Proctors Theatre package in Schenectady, NY was SpongeBob SquarePants. I could have traded in the ticket for another show not in the subscription series, but I decided to see it.

In case you’re unfamiliar, SpongeBob SquarePants is an American animated comedy television series. It was created by Stephen Hillenburg, a marine science educator, and animator, who died in November 2018. “The series chronicles the adventures and endeavors of the title character and his aquatic friends in the fictional underwater city of Bikini Bottom.”

I went alone on a Thursday afternoon, in part because that is the cheapest time to go. Did I mention I was retired? The house was maybe 2/3s full. I suspect some of my fellow retirees opted out.

Before writing this, I explained the highlights to my wife. “Oh, I heard a guy on the radio who pointed out the same things that you liked.” Being the lazy blogger I am, I quickly found Bob Goepfert’s review for The Troy Record that she heard on WAMC.

“I actually enjoyed the cleverly staged mountain climbing sequence.” This is actually quite extraordinary visually, with our title hero hanging upside down on a ladder more than once. And the look, in general, is a lot of fun.

“There’s a sensational tap number that lasts for about 8 minutes that is breathtaking. Performed by the tall and lanky Cody Coolie (who plays Squidward) the dance will remind old-timers of Tommy Tune… ‘I’m Not a Loser,’ by They Might Be Giants was made meaningful by the already mentioned tap number.

“[T]he musical uses the tale of friendship and heroic actions to teach some fine values – like believing in yourself, being a loyal friend, trusting in individuality and encouraging diversity.” It also addressed fearmongering among politicians, cult followings, and panic.

Avoidance

I enjoyed it far more than Goepfert did, and he’s explained why: “Over the years, no matter how much they begged or cajoled, I avoided watching a single episode of the Nickelodeon television cartoon series with my grandchildren. I refused to go with them to any of SpongeBob films, and they knew better than to ask me to take them to the musical when it played on Broadway. Seeing the show on Wednesday evening at Proctors proved I was right.”

I had wondered right after seeing the show whether someone who was not familiar with the cartoon could make the transition to the stage version. With a now teenaged daughter, I’ve seen more than my share of episodes.

SpongeBob was not in a sponge costume, but rather wore a shirt, tie and shorts. Squidwardhad a pair of slacks and shoes, and another pair of same attached to the back. It’s easier to appreciate that if you can see the cartoon visual in your mind.

That said, the second act was stronger than the first. I first became really involved when Pearl the Whale, the daughter of Mr. Krabs, played by Meami Maszewski, sang Daddy Knows Best in Act 1.

Before the show even began, there were cast members playing some Hawaiian music with a slide dulcimer, fiddle, kazoos, and various sound effects, played by the guy who was also onstage for much of the actual show.

Proctors Theatre was the first stop on the tour for SpongeBob SquarePants, and I suspect the show will only get better. Here’s a favorable review in Nippertown. It’s not Fiddler on the Roof, which is briefly referenced, but it should be entertaining when it comes to a theater near you.

Country Music: Ken Burns, PBS

Can The Circle Be Unbroken?

Country Music.Ken Burns Sixteen hours of the history of country music. I watched it all. Some bits of it I knew about, but I learned a lot, especially the parts before I was born. It starts with the 1920s when the birth of radio and the growth of the phonograph record propelled country/hillbilly music as well as other musical genres.

The beginning of the Grand Ole Opry is outlined. The documentary posits that there were two early giants of country music, the Carter Family and Jimmie Rodgers. Rodgers brought forth the yodel in recorded music, often replicated by others for decades. The second episode, “Hard Times (1933-1945),” touches on Gene Autry and Bob Wills.

Oddly, it was the story about the creation of the music licensing entity BMI that was a big revelation for me. It was “founded by a group of radio industry leaders meeting in September 1939 at the National Association of Broadcasters annual convention in Chicago. The move [was] prompted by ASCAP requesting to double license fees to the radio industry…”

“Hillbilly Shakespeare 1945-1953” certainly described Hank Williams, who dominates Episode 3. Eddy Arnold and Bill Monroe are also included. Episode 4 is called “I Can’t Stop Loving You 1953-1963”, which meant that it had to mention the seemingly unlikely crossover of Ray Charles. Johnny Cash, Patsy Cline, Willie Nelson, and early Elvis are some of the others highlighted.

The parts I remember

“The Sons and Daughters Of America (1964-1968)” is the title of Episode 5. Loretta Lynn, Charlie Pride, Merle Haggard, and Roger Miller are among the stars. The Beatles even get a mention with their Buck Owens cover. This is the period of my first recollections listening to WWVA in Wheeling, WV late at night.

Episode 6, “Will The Circle Be Unbroken (1968-1972),” gets into the period I was collecting music. More than one person I know discovered Kris Kristofferson from this show. Bob Dylan and The Byrds get coverage, as well as The Nitty Gritty Dirt Band.

“Are You Sure Hank Done it This Way? (1973-1983)”, in Episode 7, discusses the ongoing tension between “traditional” country and countrypolitan. Olivia Newton-John beats out Loretta Lynn for the best female artist at the CMA? Highlights include Dolly Parton, George Jones, Tammy Wynette, Hank Williams Jr, Roseanne Cash, Waylon Jennings, and Emmylou Harris.

Finally, Episode 8, “Don’t Get Above Your Raisin’ (1984-1996)”, shows the development of Ricky Scaggs, Reba McEntire, George Strait, Randy Travis, The Judds, Dwight Yoakum, and especially Garth Brooks.

Among the complaints were that Burns, et al. left out any number of artists from Jim Reeves to Linda Ronstadt, while spending too much time on Johnny Cash. I suppose this may have some legitimacy. Sometimes, for licensing, artistic, or other reasons, you work with what you have. On the other hand, Marty Stuart’s knowledge of the genre continues to amaze.

The music

There’s a five-CD set of the music mentioned in Country Music. I thought I’d link to just a handful. I’m ignoring any cuts I already own, such as tracks by JR Cash, Charles, Cline, Kristofferson, Lynn, and Williams.

Can the Circle Be Unbroken – The Carter Family
Blue Yodel No. 8 (Mule Skinner Blues) – Jimmie Rodgers
Fox Chase – DeFord Bailey, the first black at the Grand Ole Opry
Mountain Dew – Grandpa Jones and his Grandchildren; by the time Jones was on the TV show Hee Haw, he didn’t need the makeup anymore

I Want to Be a Cowboy’s Sweetheart – Patsy Montana & The Prairie Ramblers
New San Antonio Rose – Bob Wills and His Texas Playboys
Wabash Cannonball – Roy Acuff
It’s Mighty Dark to Travel – Bill Monroe & his Blue Grass Boys

New Mule Skinner Blues – Maddox Brothers and Rose
Foggy Mountain Breakdown – Lester Flatt & Earl Scruggs, who I first knew from The Beverly Hillbillies
It Wasn’t God Who Made Honky Tonk Angels – Kitty Wells
Crazy Arms – Ray Price

The Long Black Veil – Lefty Frizzell; I have The Band and Mick Jagger versions of this
El Paso – Marty Robbins
Stand by Your Man – Tammy Wynette, later covered by Lyle Lovett
Are You Sure Hank Done It This Way – Waylon Jennings

Boulder to Birmingham – Emmylou Harris
Pancho and Lefty – Merle Haggard and Willie Nelson
He Stopped Loving Her Today – George Jones
Don’t Get Above Your Raisin’ – Ricky Skaggs

Somebody Should Leave – Reba McEntire
Why Not Me – The Judds
Streets of Bakersfield – Dwight Yoakam with Buck Owens
Where’ve You Been – Kathy Mattea
Go Rest High on That Mountain – Vince Gill
I Still Miss Someone – Rosanne Cash