I Feel Alright

Steve-Earle-I-Feel-Alright-471005As previously noted, one of my favorite songs for this holiday is Valentine’s Day [LISTEN] by Steve Earle. I could not find a music link to it before, but now I have one. Here are the lyrics:

I come to you with empty hands
I guess I just forgot again
I only got my love to send
On Valentine’s Day

I ain’t got a card to sign
Roses have been hard to find
I only hope that you’ll be mine
On Valentine’s Day …

Also on that fine album, I Feel Alright, is the very Beatlesque More Than I Can Do [LISTEN], with lyrics.

Oh, just get ALL the lyrics to the album.
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For a more traditional piece, here’s newly-elected Rock and Roll Hall of Fame singer Linda Ronstadt singing My Funny Valentine, with the Nelson Riddle Orchestra.

E is for the Everly Brothers

I wonder if Take A Message To Mary by the Everly Brothers influenced the Bee Gees’ I’ve Got To Get A Message To You?

The Beatles, the Beach Boys, the Bee Gees, Bob Dylan, the Byrds, and Simon & Garfunkel all listed them as influences. In fact, Paul Simon described his solo hit Graceland as an Everly Brothers song. The bonus tracks on Rockpile’s Seconds of Pleasure album features Nick Lowe & Dave Edmunds singing songs by the duo.

Isaac Donald “Don” Everly (born February 1, 1937) and Phillip “Phil” Everly (born January 19, 1939) were known for “steel-string guitar playing and close harmony singing.” They were elected to the Rock and Roll Hall of Fame in the first class, in 1986.

I remember seeing my father’s single of Bird Dog/Devoted to You on Cadence Records in the house. The brothers got some great songs from the husband and wife Felice and Boudleaux Bryant, as well as tunes they penned themselves. Unfortunately in the early 1960s, the Everlys were shut off from Acuff-Rose songwriters. “These included Felice and Boudleaux Bryant… as well as Don and Phil Everly themselves, who were still contracted to Acuff-Rose as songwriters.” But they remained popular in England and the European continent well after their US popularity waned.

For a time, they had a major falling out but eventually got back together to play the oldies circuit. Still, their impact on popular music was already settled.

Sadly, Phil Everly died on January 3, 2014, of complications from chronic obstructive pulmonary disease. He was 74.

My favorite Everly Brothers songs (written by the Bryants unless otherwise noted), links to all songs:

12. Cryin’ in the Rain [live version], #6 in 1962, written by Howard Greenfield and Carole King

11. Take A Message To Mary, #16 in 1959 – I wonder if this influenced the Bee Gees’ I’ve Got To Get A Message To You?

10. Devoted To You, #10 in 1958, as a B-side

9. (‘Til) I Kissed You, #4 in 1959, written by Don Everly – the Crickets of Buddy Holly fame were the backing band

8. Poor Jenny – #22 in 1959 as a B-side

7. On the Wings of a Nightingale – #50 in 1984, written by Paul McCartney, produced by Dave Edmunds

6. Bird Dog – #1 in 1958. Whatever its linguistically sexist flaws, I maintain my affection for it

5. When Will I Be Loved – #8 in 1960, written by Phil Everly. Linda Ronstadt had the bigger hit, but I always had a greater affection for the original.

4. Bye Bye Love – #2 for four weeks in 1957, this was their first hit. Covered more than once by Simon & Garfunkel.

3. All I Have To Do Is Dream – #1 for five weeks in 1958. “Only trouble is – gee, whiz…”

2. Cathy’s Clown – #1 for five weeks in 1960, written by the Everly Brothers. I like how it changes feel from verse to chorus.

1. Wake Up Little Susie – #1 for four weeks in 1957. It’s a wonderful story-song about how other people are going to say, “Ooo-la-la” for a couple being out so late.

(My favorite three songs are their biggest hits – how terribly parochial.)

Oh, here’s probably my LEAST favorite Everly Brothers song:

Ebony Eyes, #8 in 1961, by John D. Loudermilk. It’s the dopey, ham-handed spoken part that I really despise.

As the article in the Telegraph, the saddest thing about Phil’s death is that it will never blend with Don’s again.

 


ABC Wednesday – Round 14

D is for the Dixie Chicks

Natalie Maines’ comments caused an almost immediate and massive backlash against the Dixie Chicks in the US in 2003.

When I first bought the 1998 Dixie Chicks album Wide Open Spaces, I knew the group had copped their name from the Little Feat song Dixie Chicken. What I did not realize is that the group had been around since 1989 as a bluegrass quartet, with the sisters Martie and Emily Erwin and two others. When those other two left – one quit, the other apparently forced out – Natalie Maines became the lead singer. The sisters expanded their instrumental repertoire, and their sound became a more contemporary country.

The 1999 album Fly was even more successful. It “debuted at No. 1 on the Billboard 200 charts, selling over 10 million copies and making the Dixie Chicks the only country band and the only female band of any genre to hold the distinction of having two back-to-back RIAA certified diamond albums.” It was not without controversy, though.

Sin Wagon [LISTEN], from which the term ‘mattress dancing ‘takes on a new twist, and ‘Goodbye Earl’, a song that uses black comedy in telling the story of the unabashed murderer of an abusive husband.” WATCH the video featuring NYPD Blue’s Dennis Franz as Earl.

After a label dispute and some family time, the trio released Home, “independently produced by Lloyd Maines [Natalie’s father] and the Chicks” August 27, 2002. They were performing at a concert in London on March 10, 2003, during what turned out to be the inevitable rollup to the Iraq war, when “Natalie Maines, who along with Robison and Maguire was also a native of Texas, said: ‘Just so you know, we’re on the good side with y’all. We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas.'” This caused an almost immediate and massive backlash against the Chicks in the US, and subsequent apologies and clarifications did nothing to tamp it down. That very week, in a buycott action, I bought Home, which I would have likely purchased anyway. I appreciated how the sisters stood by Natalie. (Whereas Simon Cowell bashed her on American Idol, and he was hardly the only one.)

It wasn’t until 2006 before they put out Taking the Long Way, featuring the pointed single Not Ready to Make Nice [LISTEN]. The album went to #1, but the singles were ignored by country radio. I suspect lots of non-country music fans bought it in support of the Dixie Chicks.

Though the group has performed periodically, the sisters have put out two albums as Court Yard Hounds, an eponymous album in May 2010 (which I have), and Amelita in July 2013. Maines released a solo album, Mother in May 2013, which I purchased; it’s much more pop than country.

The Dixie Chicks were touring in Canada in the fall of 2013. Whether they will record together something more than a couple of tracks, only time will tell.

 


ABC Wednesday – Round 14

C is for the Carpenters

It was the version of Superstar by an unknown singer named Bette Midler that caught Richard Carpenter’s attention.

Some of the albums I own that came out in 1971, the year I went to college, include Sticky Fingers – Rolling Stones; Pearl – Janis Joplin; Aqualung – Jethro Tull; What’s Going On – Marvin Gaye; Every Picture Tells a Story – Rod Stewart; Who’s Next – the Who; Santana (III); Led Zeppelin (IV); Hunky Dory – David Bowie. And, oh yeah, Carpenters, the eponymous third album put out by the sibling duo of Karen and Richard Carpenter.

Talk about uncool! These are the artists who took one of the Beatles’ hardest rockers, Ticket to Ride [LISTEN], and turned it into a ballad on their first album. (I rather liked it.) I loved Karen’s voice, though, and I thought they performed some lovely songs.

Side 1
The “tan album” begins with Rainy Days and Mondays [LISTEN], written by Roger Nichols and Paul Williams, which I swear radio DJs at the time referenced every time there was precipitation on the first day of the workweek. The Carpenters* had recorded the Nichols/Williams tune We’ve Only Just Begun [LISTEN] on their previous album. Both songs went to #2 on the US singles charts.

Richard Carpenter was a great arranger for himself and his sister, and a decent keyboard player, but often wrote drippy songs, with a person named Bettis, and, worse, sang them. Saturday at least was only eighty seconds long.

Let Me Be the One was yet another nice Nichols/Williams song.

(A Place To) Hideaway was a lovely song by someone named Randy Sparks

For All We Know [LISTEN] was another hit single, going to #3. It was written for the 1970 film Lovers and Other Strangers.

Side 2

Superstar [LISTEN], written by Bonnie Bramlett and Leon Russell, was originally recorded by Delaney and Bonnie in 1969. Then it was covered in 1970 in Joe Cocker’s Mad Dogs and Englishmen Revue, with ex-Delaney and Bonnie singer Rita Coolidge as featured vocalist. But it was the version by a largely unknown singer named Bette Midler that caught Richard Carpenter’s attention. Their recording had the audacity of changing the line “And I can hardly wait to sleep with you again” to “And I can hardly wait to be with you again,” which solidified their white bread status among many. I thought it was a sage commercial move myself. Yet another #2 single.

Druscilla Penny [LISTEN], another Bettis- R. Carpenter song I hadn’t heard in years, yet remember instantly. Goofy song sung by Richard.

One Love [LISTEN] – a Bettis-R. Carpenter that was NOT goofy. Sung by Karen.

Bacharach/David Medley: Knowing When to Leave/Make It Easy on Yourself/(There’s) Always Something There to Remind Me/I’ll Never Fall in Love Again/Walk on By/Do You Know the Way to San Jose – I was never a big fan of medleys, but they are great songs sung well. The idea actually came from Burt Bacharach a couple of years earlier, I learned. (Of course, their first hit was the Burt Bacharach/Hal David song (They Long to Be) Close to You [LISTEN], which had gone to #1

Sometimes. Written by Henry and Felice Mancini, it is a suitable ending.

They won their third Grammy, this time for Best Pop Performance by a Duo or Group for the Carpenters LP. They had previously won for Best New Artist, and Best Pop Performance by a Duo, Group, or Chorus, for Close to You in 1970. The quality of her singing on this album reportedly got Richard to suggest that Karen get from behind her beloved drum set and sing center stage in a live performance.

The Carpenters put out a half dozen more albums, with hits such as [LISTEN TO THEM ALL] Top of the World , the Sesame Street song Sing and Yesterday Once More, possibly my favorite of their songs.

This I did not recall: “Richard sought treatment for his addiction to quaaludes at a Topeka, Kansas, facility for six weeks starting in January 1979. He then decided to take the rest of the year off for relaxation and rehabilitation.” But Karen didn’t want to either stop singing or “seek help for her anorexia” Nervosa for a few years. When she did seek treatment a few years later, it caused a dizzying yo-yo weight gain and loss which ended up killing her on February 4, 1983.

The only good thing to come of her passing was a greater awareness of anorexia and also bulimia. Richard, among other things, continues to keep the flame for the music of the duo.

*Yes, I know the name of the group is Carpenters, not The Carpenters, so named, Richard once said, “After much thought, we decided to name the act ‘Carpenters’ (No ‘The’; we thought it sounded hipper without it, like Buffalo Springfield or Jefferson Airplane.)” But I always thought Carpenters sounded like woodworkers.

 


ABC Wednesday – Round 14

The Lydster, Part 118: shared songs

abraham_lincoln_subwayI have what I imagine is an annoying habit. Someone says something, and it often leads me to a song. Those references to music in my blogs are not an affectation, or looked up to be hip, it’s just THERE in my head.

The habit used to drive my dear late mother crazy when I was growing up, and I knew far fewer songs then. The Wife tolerates it, but The Daughter hated it. Or used to, until she started doing it herself.

The turning point involved a Subway commercial.

Periodically, the sandwich restaurant offers all their twelve inch sandwiches for five bucks each. Or as the maddeningly catchy repeated four bars go:
FIVE
FIVE DOLLAR
FIVE DOLLAR FOOTLONGS
It’s the minor key ending that’s the clincher.

The ad, in some variation has been around since 2008. WATCH THIS ONE, or several like it.

Not only do we sing it together, in harmony, no less, she’s now taken to coming up with new lyrics, such as:
SCHOOL
SCHOOL IS
SCHOOL IS SO HARD.

So I bug my daughter less than I used to. Is this, or is this not, a good thing?
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A Motown medley my daughter and her classmates will be singing this month.

Ramblin' with Roger
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