As you will no doubt be aware, the Academy Awards are coming up and in honour of the Oscar tradition of jazzing up a long-running format with dubious gimmicks, this week’s Theme Park was dedicated to Original Songs Recorded For Film. Here at BayFm we’re always on a budget so you just have to imagine the red carpet, the paparazzi and my fabulous outfit.
J’aimee Skippon-Volke from the Byron Film Festival also paid us a visit and we had a chat about what’s screening at the festival this year. She kindly gave away some tickets to our loyal subscribers, as did the wonderful people at the Dendy Cinema who are screening most of the Oscar nominees at the moment. Thanks guys and congrats to the lucky listeners who won those.
STAYIN’ ALIVE was written and recorded by The Bee Gees in 1977 for the film ‘Saturday Night Fever’ and the album defined the Bee Gees as they ushered in the disco era. None of the songs from this best selling album were nominated for an Oscar, with the Best Original Song of 1977 going to “You Light Up My Life’ from the widely panned film of the same name. Go figure.
Another oversight by the Academy is WHEN DOVES CRY from Prince’s brilliant album ‘Purple Rain’ which supported the film of the same name. Funky, sexy and totally rockin’ the album was nothing short of revolutionary and probably far too much for the staid Academy committee to take in. Prince doesn’t like to have his music on YouTube so it was difficult to get a good video of him performing the song, but here’s an extract from a DVD called ‘Prince – The Glory Years’:
Simon & Garfunkle wrote MRS ROBINSON especially for the film ‘The Graduate’. Thanks Judi, all the way from Cairns, for suggesting that one.
The Beatles A HARD DAY’S NIGHT is so iconic that many of us forget that all eight original songs plus four instrumentals are from the Beatles first movie.
And then it was one of my guilty pleasures, TONIGHT I’M GONNA ROCK YOU TONIGHT, from ‘This is Spinal Tap’. Not nominated for an Oscar either! What was the Academy thinking!
Prior to Bob Marley, nothing did more to make reggae popular than the soundtrack to THE HARDER THEY COME. Jimmy Cliff’s title song does the work of the film in less than four minutes. Gotta be the best reggae song ever written for a movie. The year was 1972 and the Oscar for Best Original song that year went to The Morning After from ‘The Poseidon Adventure’. Jimmy was robbed!
Here’s a song that actually did win an Oscar. Another guilty pleasure, I’m afraid, but in 1987 while all else around us was synth-pop, we fell hard for the film ‘Dirty Dancing’. The song? I’VE HAD THE TIME OF MY LIFE from Bill Medley & Jennifer Warnes. Oh, stop it, you know you were waiting for this one! R.I.P. Patrick Swayze.
Ok, I’m on a roll…. Yet another song that won an Academy Award for Best Original Song, and who would have thought a rap song could pull it off? Eminem’s LOSE YOURSELF was written for his hit film 8 MILE, released in 2002.
Stevie Wonder’s I JUST CALLED TO SAY I LOVE YOU pipped two songs from the film ‘Footloose’ at the post to take out the Best Original Song in 1984. But he wasn’t the first black artist to take out the award. Back in 1971 Isaac Hayes’ soul and funk style THEME FROM SHAFT won the Oscar, making Hayes the first African American to win that honor (or any Academy Award in a non-acting category, for that matter). Check out the opening credit sequence from the film, which uses the theme so superbly. Damn right!
Danny Boyle’s amazing film ‘127 Hours’ is nominated in various categories this year, including Best Original Song and Best Film. He also directed ‘Slumdog Millionaire’ which in 2008 walked away with 8 Oscars. That year two of the songs from the film were nominated and JAI HO won the Oscar, but I prefer the song that missed out, O…SAYA by A.R. Rahman and M.I.A.
By having the actors write and perform their own songs, director Robert Altman managed to capture the sprawling heart of the ’70s Nashville music scene, the good, the bad and the just plain hokey. And while the album has its high and low points, the high points got their due: Keith Carradine’s I’M EASY won an Oscar for Best Original Song in 1975.
Zoe suggested that I play the whole album from the film INTO THE WILD. Ah yes, if only I had the time. But we definitely had to play something from this wonderful soundtrack, which was composed by Eddie Vedder of Pearl Jam fame. So, my pick was SOCIETY.
Rebecca suggested PLAYGROUND LOVE from the Virgin Suicides soundtrack. it’s by the group Air and it has to be one of the most beautiful love songs written. An Oscar? No, of course not.
In 1969 the film ‘Midnight Cowboy’ won three Academy Awards: Best Picture, Best Director and Best Adapted Screenplay. But no best song, not even a nomination. It was a strong year with Raindrops are Falling on my Head from the film Butch Cassidy and the Sundance Kid taking out the honours, but I do have a soft spot for Harry Nilsson, so we had to play EVERYBODY’S TALKIN’. Here’s the opening sequence with Jon Voight as Joe Buck. Not even a nomination, what gives?
Bruce Springsteen’s STREETS OF PHILADELPHIA from the 1993 film ‘Philadelphia’ did go on to win Best Original Song for Springsteen. So, sometimes the Academy does get it right, it seems. As it did last year with THE WEARY KIND from a film that I also adore, ‘Crazy Heart’. The song was sung by Ryan Bingham.
MEMO FROM TURNER is a song written by the Rolling Stones for Nic Roeg’s film ‘Performance’. Ry Cooder provides slide guitar on the track, which was enough reason for me to include it, despite it not even being nominated for an Oscar. The film starred Mick Jagger as a sex-crazed rock star. I think it probably should have been awarded an Oscar for type-casting, surely! Love the fact that Mick lip-syncs to himself…
Like James Brown’s Black Caesar and Marvin Gaye’s Trouble Man, Curtis Mayfield’s ‘Superfly’ album typified the blaxploitation tradition of soundtracks that eclipsed, and in this case outgrossed, their original inspirations. FREDDIE’S DEAD was my pick from this soundtrack.
It would have been remiss of me not to play at least one of the nominated songs from this year’s Academy Awards. So I went to go out on a limb and forecast that IF I RISE from ‘127 Hours’ should take the guernsey on Oscar’s night. With music by A.R. Rahman and lyrics by Dido and Rollo Armstrong, I think its the best of the bunch. Great footage from the film as well, on this clip:
We finished the show with a divine song from Louis Armstrong. WE HAVE ALL THE TIME IN THE WORLD was one of the themes for the James Bond film ‘On Her Majesty’s Secret Service’, starring George Lazenby and Dianna Rigg. Composed by John Barry, with lyrics by Hal David, Barry has been quoted as saying that this is the finest piece of music he ever wrote.
Next week the theme will be SMOKING. Don’t get me wrong, I’m not a big fan of nicotine or other smoking substances, for that matter. But gee, there are some good songs on the topic, aren’t there? So I have no shame. Smoking it is. Or maybe we should call it THANKS FOR NOT SMOKING. Put your thinking caps on and get in touch, especially if you have an anti-smoking song for our list.
While you’re pondering your choices, take a look at the playlist from this week:
Stayin’ Alive – Bee Gees, Bee Gees Greatest
When Doves Cry – Prince, Purple Rain
Mrs Robinson – Simon & Garfunkel, The Graduate
A Hard Day’s Night – The Beatles, A Hard Day’s Night
Tonight I’m Gonna Rock You Tonight – Spinal Tap, Back From the Dead
The Harder They Come – Jimmy Cliff, The Harder They Come
(I’ve Had) The Time Of My Life – Bill Medley & Jennifer Warnes, Dirty Dancing
Lose Yourself – Eminem, 8 Miles
I Just Called To Say I Love You – Stevie Wonder, The Very Best Of
Theme From Shaft – Issac Hayes, Shaft
O…Saya – A R Rahman & M.I.A., Slumdog Millionaire
I’m Easy – Keith Carradine, Nashville
Society – Eddie Vedder, Into The Wild
Playground Love – Air, Virgin Suicides
Everybody’s Talkin’ – Harry Nilsson, Midnight Cowboy
Streets of Philadelphia – Bruce Springsteen, Philadelphia
The Weary Kind – Ryan Bingham, Crazy Heart
Memo From Turner – The Rolling Stones, The Stones
Freddie’s Dead – Curtis Mayfield, Superfly
If I Rise – Dido, AR Rahman, 127 Hours
We Have All the Time In the World – Louis Armstrong, The Best of Bond
Next week: SMOKING
Occasionally, a songwriter writes a tune that’s essentially a letter to a musical peer or fellow composer. Sometimes that message is delivered in the form of a tribute and sometimes it’s delivered as an angry diatribe. Our playlist today features both but, like our opening track JAZZ THING from Gang Starr, most of our songs are marks of respect.
I like to include a little country music every now and again, especially if its by the great Johnny Cash. As a contribution to this week’s playlist, he sings about his country music idol on THE NIGHT HANK WILLIAMS CAME TO TOWN. Punk rockers The Ramones praise the rock artists who preceded them on DO YOU REMEMBER ROCK N ROLL RADIO. And then it was UK group Television Personalities, who are obviously Pink Floyd fans with I KNOW WHERE SYD BARRETT LIVES.
The most familiar soul hit on the airwaves during 1967 was Arthur Conley’s SWEET SOUL MUSIC on which he paid tribute to other great soulmen like Otis Redding and James Brown:
When it comes to soul, Stevie Wonder knows how much is owed to our jazz legends. SIR DUKE is his tribute to Duke Ellington, the influential jazz legend who died in 1974. He also acknowledges Count Basie, Glenn Miller, Louis Armstrong and Ella Fitzgerald.
In 1980 Dexy’s Midnight Runners appeared out of nowhere, with a sound all their own. Nobody else at the time would have dreamt of producing an impassioned, brass-powered tribute to neglected 1960s soul singer Geno Washington, but they did and they took GENO to #1 in the UK.
Dexy’s Midnight Runners also recorded a version of JACKIE WILSON SAID, but I’m faithful to the original by Van Morrison which had to be part of the list too.
A little more country music was up next with the gorgeous Gillian Welch singing the ELVIS PRESLEY BLUES. This was followed closely by the one and only Ian Dury with his incredible piece of hero worship, SWEET GENE VINCENT. On this video Mick Jones of the Clash joins the band, The Blockheads. And as Dury quips to Jones: “Listen, we’ve got four chords on this one Michael!” Great band, great song. How does Mick Jones get through this number without once dropping the ciggie from his mouth? Hilarious.
Ian Hunter and Mott the Hoople’s reluctant youth anthem, ALL THE YOUNG DUDES was written by David Bowie. It namechecks T-Rex and references The Beatles and The Stones. Here they are, (with Bowie on back up!), performing at the Freddie Mercury tribute at Wembley Stadium:
The wonderful Jonathan Richman never disappoints me and he delivers again for this week’s playlist. On his song VELVET UNDERGROUND he even performs a few bars of the Velvet Underground’s Sister Ray in between dispensing eloquent insights into his heroes’ dark magic. How good is that!
Bono says that U2’s song STUCK IN A MOMENT YOU CAN’T GET OUT OF is a tribute to INXS singer Michael Hutchence. According to Bono it’s the conversation he wishes had actually taken place.
John Martyn, who died at a relatively early age himself, extends a concerned hand to a fading Nick Drake on the devastatingly tender SOLID AIR.
Canadian group Barenaked Ladies recorded a hit song about mental illness that references Beach Boy BRIAN WILSON. And just in case you’re wondering, Brian Wilson does do a version during his own live shows. And why wouldn’t he? It’s a great song. Fellow Canadian Allanah Myles also had a huge hit with my favourite of all the Elvis tribute songs: BLACK VELVET.
Paul Jones and Dave Kelly honour Blues legend SONNY BOY WILLIAMSON and Neil Young references Johnny Rotten of the Sex Pistols on HEY, HEY, MY MY (Into the Black). The line ‘It’s better to burn out than to fade away’ also became infamous in modern rock after being quoted in Kurt Cobain’s suicide note.
On a cheerier note, The Saw Doctors sing I’D LOVE TO BANG THE BANGLES, which pretty much speaks for itself. If you thought that was a wild proposition, you should take a listen to Bongwater’s NICK CAVE DOLLS. But hang in for the punchline on that one. A perfect follow up to that tune is Adam Ant’s GOODIE TWO SHOES, supposedly a critique of Cliff Richards virtuous and conservative image. “Don’t drink, don’t smoke… what do you do?”
A terrific song from Dory Previn is STONE FOR BESSIE SMITH. It isn’t just about the Blues singer Bessie Smith; it’s primarily about Janis Joplin who paid for Bessie Smith’s headstone but forgot to put anything aside for her own.
Early in his career, David Bowie often wrote about artists he admired, from Lou Reed to Andy Warhol to Iggy Pop. On SONG FOR BOB DYLAN a pre-Ziggy Bowie adopted Dylan’s nasal vocal style in order to pay tribute.
Down By Law also do an excellent tribute to the best rock band in the world: I WANNA BE IN AC/DC. Me too guys, me too.
It was hard choosing a song to go out on. Yes, of course there’s American Pie and Losing My Edge and the various spats between Paul McCartney and John Lennon, but in an effort not to be too predictable I’ve chose TUNIC (Song for Karen). Sonic Youth’s Kim Gordon does a beautiful job of casting herself as the tragic Karen Carpenter reporting back from heaven.
I’ve got a marathon effort lined up for the next couple of weeks and I need your help! The playlist next week will start with a song referencing Zero or less and I’ll progressively play songs in numerical order until I run out of ideas. For example I could start with Elvis Costello’s Less Than Zero progress to Yeah yeah yeah’s Zero then Bob Marley’s One Love … you get the idea. Let’s see how far I get. If you help me we could be doing this for weeks! To make it easy to participate I’ll be posting onto the Theme Park Radio Facebook page.
But in the meantime, here’s this week’s complete playlist to peruse:
Jazz Thing – Gang Starr – Moment of Truth
The Night Hank Williams Came To Town – Johnny Cash – The Best Of Johnny Cash
Do You Remember Rock ‘N’ Roll Radio – The Ramones Shrek OST
I Know Where Syd Barrett Lives – Television Personalities And Don’t The Kids Just Love It
Sweet Soul Music – Arthur Conley – 60’s Soul
Sir Duke – Stevie Wonder – Songs In The Key Of Life [Disc 1]
Jackie Wilson Said (I’m In Heaven When You Smile) – Van Morrison
Geno – Dexys Midnight Runners – Searching For The Young Soul Rebels
Elvis Presley Blues – Gillian Welch – Time (The Revelator)
Sweet Gene Vincent – Ian Dury and The Blockheads – The Very Best Of Ian Dury And The Blockheads
Blackbird, Bye Bye – Keith Jarrett, Gary Peacock, Jack DeJohnette – Bye Bye Blackbird
All The Young Dudes – Mott The Hoople – Rock Classics 60’s & 70’s Volume 2
Velvet Underground – Jonathan Richman – I, Jonathan
Stuck In A Moment You Can’t Get Out Of – U2 – The Best Of 1990-2000 & B-Sides CD1
Solid Air – John Martyn – No Little Boy
Brian Wilson – Barenaked Ladies – Barenaked Radio: Easter Special
Sonny Boy Williamson – Paul Jones & Dave Kelly – Live In London
Black Velvet – Alannah Myles – The Very Best of Alannah Myles
Hey Hey, My My (Into The Black) – Neil Young – Rust Never Sleeps (Live)
Goodbye Pork Pie Hat – Charles Mingus – Mingus Ah Um
I’d Love To Kiss The Bangles – The Saw Doctors – Play it Again Sham
Nick Cave Dolls – Bongwater – Box of Bongwater
Goody Two Shoes – Adam Ant – Antics In The Forbidden Zone
Stone For Bessie Smith – Dory Previn – Mythical Kings And Iguanas
Song For Bob Dylan – David Bowie – Hunky Dory
(I Wanna Be In) AC/DC – Down By Law – Windwardtidesandwaywardsails
Tunic (Song For Karen) – Sonic Youth – Goo (Deluxe Edition) [Disc 1]
Next week: NOUGHT TO WHATEVER (Part 1)
We’re well and truly into Summer and where are all those beautiful sunny days that this season promises? As I write this, I’m looking out at torrential rain. So, it was definitely wishful thinking that propelled me into this week’s playlist on THE SUN.
We opened the show with a song that radiates optimism, the Beatles GOOD DAY SUNSHINE, written by Paul McCartney and released on the 1966 album Revolver. A relatively new track comes from Michael Franti. I dedicated THE SOUND OF SUNSHINE to the lovely Suzie M. and her grandchildren, Reem & Aliyah who are huge Michael Franti fans.
Local lad Christian Pyle did a great job at the recent Mullumbimby Music Festival and although I played RAY OF YOUR SUNSHINE during my interview with him a couple of weeks ago, it such a great number I had to play it again. It’s from his Nothing Left to Burn album.
The Cream’s SUNSHINE OF YOUR LOVE is an absolute classic and is still their best-selling song of all time. Here’s Eric Clapton, Ginger Baker and Jack Bruce playing live circa 1968.
Beth Orton does a brilliant cover of The Ronettes I WISH I NEVER SAW THE SUNSHINE. I found it on the soundtrack to the film Twentyfourseven (brilliant film btw), but its also on her 1996 debut album ‘Trailer Park’. Here she performs live and is accompanied by the very talented Ted Barnes.
The wonderful Katie Noonan possibly does the best cover ever of Soundgarden’s BLACK HOLE SUN that I have ever heard. I usually don’t like to play videos that are simply photo montages, but I can’t give up the opportunity of putting her voice out there. Sublime.
There was no way I was doing a show on THE SUN without playing Stevie Wonder’s YOU ARE THE SUNSHINE OF MY LIFE. Here he is giving a rare studio concert at London’s Teddington Studios following the release of his ‘Conversation Peace’ album. A sensual ride for an intimate audience of less than 200 fans. You get the bonus of SUPERSTITION on this clip too, which I have to admit is actually my favourite Stevie Wonder number.
Bobby Hebb’s SUNNY is another very optimistic song, considering that it was written in response to his brother’s violent death which occurred on the same day of JFK’s assassination.
Two great songs that were released in 1966 are Donovan’s SUNSHINE SUPERMAN and The Kinks’ SUNNY AFTERNOON. The Kink’s strong Music Hall flavour and lyrical focus was part of a stylistic departure for the band, who had risen to fame in 1964-65 with a series of hard-driving, power-chord rock hits. Ironically, the promotional video for the single featured the band performing in a cold, snowy environment:
Nina Simone’s cover of George Harrison’s HERE COMES THE SUN is an almost religious experience. Starting slowly at first it builds to a flood of warmth and wonder. Unlike the weather here at the moment, unfortunately.
For Ros, and all the other reggae fans, we played Bob Marley’s SUN IS SHINING and followed with the Bill Withers standard – a perfectly apt song for Byron Bay at the moment: AIN’T NO SUNSHINE.
Let’s don’t get too despondent about the weather. As Elaine Page suggests “the sun will come out TOMORROW“. From the musical Annie that song went out to BayFM’s Tommy T-Jet who hosts All Things Camp Friday’s at 1pm.
The Eagles song TEQUILA SUNRISE was written by Don Henley and Glenn Frey and is from the album Desperado. I’ve been meaning to do a show just on The Eagles and its certainly on the agenda.
A show on THE SUN wouldn’t be the same if it didn’t include the Beach Boys. I had lots of suggestions for various tunes but I chose the very evocative THE WARMTH OF THE SUN. It was the B-side to Dance, Dance, Dance released in 1964.
Violent Femmes released their debut album in 1982. The music was an innovative combination of American folk music and punk rock, which would much later come to be known as “folk punk”. The lyrics were the common themes of yearning for love, sex and affection. The group quickly gained a following that never veered into mainstream commercialism. One of the songs that gained recognition was A BLISTER IN THE SUN.
2010 is the 25th anniversary of the very infectious WALKING ON SUNSHINE released by Katrina and the Waves. Can you believe it?
I don’t think the The Beloved were getting up with the birds to see the SUN RISING. Somehow I imagine they were on their way home from a big night out.
Australian band The Waifs recorded their 2007 album SUN DIRT WATER in Nashville and it was released on Jarrah Records, a fully independent label they share with John Butler Trio and MGM Distribution.
A couple of oldies but goodies come in the shape of THE SUN AIN’T GONNA SHINE ANYMORE from The Walker Brothers and DON’T LET THE SUN CATCH YOU CRYING from Gerry & The Pacemakers.
A while back I put together a show of songs that ask questions. And here’s a couple more: The Velvet Underground want to know WHO LOVES THE SUN and They Might Be Giants ask WHY DOES THE SUN SHINE?
The Spazzys is an all girl punk band from Melbourne who are heavily influenced by the Ramones. They’ve even taken their band’s name as their surname – Kat Spazzy, Lucy Spazzy and Ally Spazzy. Cool. The song SUNSHINE DRIVE is on their Aloha! Go Bananas album released in 2004 but my copy came from the soundtrack of the very good Australian film Suburban Mayhem.
One of The Kinks best known and most acclaimed songs is WATERLOO SUNSET. Ray Davies says, in a 2008 interview, that the song was a fantasy about his sister going off with her boyfriend and emigrating to another country.
Little Village were a supergroup who only released one album. Band members included Ry Cooder, John Hiatt, Nick Lowe and Jim Keitner. Sung by John Hiatt, the track SOLAR SEX PANEL certainly suggests a good use for the sun’s rays!
We closed the show with Pink Floyds’s very trippy SET THE CONTROLS FOR THE HEART OF THE SUN.
Next week, I’m going to celebrate the Xmas Party season with SONGS ABOUT DRINKING. I’m looking for everything from rowdy singalongs to barfly melancholia and guilty hangover confessionals. That should cover everything! It will be the day after the BayFM Xmas party, so I should be suitably hungover!
Here’s this week’s complete playlist:
Good Day Sunshine – Revolver, The Beatles
The Sound Of Sunshine – The Sound Of Sunshine, Michael Franti and Spearhead
Ray of Your Sunshine – Nothing Left to Burn, Christian Pyle
Sunshine Of Your Love – Eric Clapton Story, Cream
I Wish I Never Saw The Sunshine – Twentyfourseven Soundtrack, Beth Orton
Black Hole Sun – Time To Begin, Katie Noonan
You Are The Sunshine Of My Life – Ballad Collection, Stevie Wonder
Sunny – Rhythm & Blues, Bobby Hebb
Sunshine Superman [Extended] – Try For The Sun, Donovan
Sunny Afternoon – Lost And Found 1962-1969, The Kinks
Solar – Chet In Chicago, Chet Baker
Here Comes The Sun – The Very Best Of Nina Simone, Nina Simone
Sun Is Shining – Bob Marley Collection, Bob Marley
Ain’t No Sunshine – Lean On Me: Priceless Collection, Bill Withers
Tomorrow – Elaine Paige LIVE , Elaine Paige
Tequila Sunrise – The Very Best Of The Eagles, The Eagles
The Warmth Of The Sun – Shut Down Volume 2, The Beach Boys
Blister In The Sun – Violent Femmes, Violent Femmes
Walking On Sunshine – Sounds Of The Eighties: 1985, Katrina and The Waves
The Sun Rising – Single File, The Beloved
Sun Dirt Water – Sun Dirt Water, The Waifs
The Sun Ain’t Gonna Shine Anymore – The Walker Brothers
Don’t Let The Sun Catch You Crying – Gerry & The Pacemakers, Gerry and The Pacemakers
Who Loves The Sun – High Fidelity [Bonus Tracks], The Velvet Underground
Why Does The Sun Shine? – Severe Tire Damage, They Might Be Giants
The Sunshine Drive – Suburban Mayhem Soundtrack, The Spazzys
Waterloo Sunset – The Ultimate Collection [Disc 1], The Kinks
Solar Sex Panel – Little Village, Little Village
Set The Controls For The Heart Of The Sun – A Saucerful Of Secrets, Pink Floyd
Next week: SONGS ABOUT DRINKING
Ok, so there are intros and then they’re are great intros. What qualifies as great in my books? In this week’s playlist some songs feature opening segments that are totally independent from the rest of the track. Others just start with the main riff. Our opening song, INTRO/SWEET JANE is from Lou Reed’s live album Rock n Roll Animal, released in 1974, and it’s a terrific example of a great intro. The opening jam from guitarists Steve Hunter and Dick Wagner creates an air of anticipation for what is still to come. The quality of this video clip isn’t great but I had to include it because any chance to see Lou and the band performing in 1974 is worth the annoyance.
The Breeders, (what a brilliant name for an almost all girl band), was formed in 1988 by Kim Deal of The Pixies and Tanya Donnelly of Throwing Muses. Their most successful album Last Splash produced the hit single CANNONBALL and the outstanding part of that song’s intro is the bass line, performed by Josephine Wiggs. The music video was directed by Kim Gordon and Spike Jonze and its a doozy:
The opening salutation on Stevie Wonder’s SIR DUKE is not an introduction that blends into the song; those actual chords are never repeated. It’s a tribute to Duke Ellington and so the intro sets the tone for the piece as a whole, foreshadowing the looser, jazzier solos later in the song.
On Isaac Hayes’ brilliant funk version of the Dionne Warwick classic WALK ON BY the intro becomes a song within a song. On this clip Isaac performs live at Music Scene in 1969. OMG: Sex on a stick. But, about those girls dresses…..
The song ONE STEP BEYOND is from the Madness album of the same name. It was originally written and recorded by the Jamaican ska musician Prince Buster. The spoken line, “Don’t watch that, watch this” in the intro is from another Prince Buster song The Scorcher. Here they are at Glastonbury 2007 showing why they have such a great reputation for live performance:
One of the most recognisable intros in rock history is HOTEL CALIFORNIA from The Eagles. But when it comes to intros that get your attention and then drag you in, kicking and screaming, it has to be rock legends Led Zeppelin. IMMIGRANT SONG is famous for Robert Plant’s distinctive wailing cry at the beginning and the recurring staccato riff from Jimmy Page, John Paul Jones and, (sigh), John Bonham.
The Rolling Stones’ GIMME SHELTER starts rather timidly, with Keith Richards’ set of wavering chords, but it soon builds into a crescendo dominated by the lead guitar line. Here they are performing live in Amsterdam, 1995 with Lisa Fisher on back-up. Watch until the end and get a little bonus from Charlie Watts.
SMOKE ON THE WATER from Deep Purple is known for Ritchie Blackmore’s instantly recognisable opening riff. The lyrics of the song tell a true story: on 4 December 1971 Deep Purple had set up camp in Montreux Switzerland to record an album using a mobile recording studio at the entertainment complex that was part of the Montreux Casino. On the eve of the recording session a Frank Zappa and The Mothers of Invention concert was held in the casino’s theatre. In the middle of Don Preston’s synthesizer solo on “King Kong”, the place suddenly caught fire when somebody in the audience fired a flare gun into the rattan covered ceiling. The resulting fire destroyed the entire casino complex, along with all the Mothers’ equipment. The “smoke on the water” that became the title of the song referred to the smoke from the fire spreading over Lake Geneva from the burning casino as the members of Deep Purple watched the fire from their hotel across the lake.
It was difficult to pick from AC/DC’s repertoire of great introductions but I went with my all-time favourite, THUNDERSTRUCK. Angus Young gets the crowd going during this intro at Donnington 1991:
Derek & The Dominoes’ LAYLA has got to be one of rock’s definitive love songs. The introduction contains an overdub-heavy guitar solo, a duet of sorts between Duane Allman’s slide guitar and Eric Clapton’s bent notes.
A couple of controversial tracks followed, both with unique introductions. FIRESTARTER, by UK band The Prodigy, caught attention because the song was deemed, by some, to be violent. The video clip, directed by Walter Stern, further fueled these claims. Shot in stark black and white, in an used part of the London Underground, some television stations refused to air the clip. Which just makes me want to show it to you, even more! I think its brilliant.
The Prodigy are a hard act to follow but I think we succeeded with the compelling and dark Massive Attack track INTERTIA CREEPS. It’s from their excellent album Mezzanine.
When The Temptations’ PAPA WAS A ROLLING STONE was released in 1972 it was 12 minutes long! Thankfully there is a shorter version that’s suitable for radio that keeps that amazing intro intact. It begins with an extended instrumental starting with a solo plucked bass guitar, backed by hi-hat cymbals. Other instruments including a blues guitar, wah-wah guitar, Wurlitzer Electric Piano, handclaps, horns and strings gradually join in.
In 1974 David Bowie became obsessed with soul music and it resulted in the album YOUNG AMERICANS, which he created with the help of the great soul singer Luther Vandross. Here’s the Thin White Duke on the Dick Cavett Show in 1974 with, amongst others, Vandross singing back-up! Loving the shoulder pads.
The Beatles track I FEEL FINE was the first recorded song to feature guitar feedback. The story goes that, while recording, John Lennon accidentally left his guitar too close to his amp, producing the interesting whine that’s in tune with the riff’s opening note.
As an intro to our Gig Guide, I couldn’t resist playing some of Screamin’ Jay Hawkins’ I PUT A SPELL ON YOU. The demented opening and the cabaret style act, together with a cigarette smoking skull called ‘Henry’, laid the foundation for future ‘shock rock’ performers like Dr. John.
Another iconic opener belongs to the The Small Faces tune TIN SOLDIER. Here’s some rare coverage of the band with P.P.Arnold on Belgium TV in 1968. Go the Mods!
Quentin, from BayFM’s ‘Q’s Blues & Jazz’ suggested I do a show on Roads and Streets but I’d already done that quite a while ago. (I know, even I can’t remember what themes I’ve covered most of the time!). But she planted a seed that led me to Gerry Rafferty BAKER STREET and that consequently led to this week’s theme. So thank you Q! BAKER STREET has a stand-out opening with its prominent eight-bar saxophone hook, played by Raphael Ravenscroft.
As we headed for the close of the show, my favourite rock groups came to the fore. Pink Floyd’s MONEY had to be included for its distinctive opening of an impressive bass line and its seven-beat loop of money related sound effects.
While the Beatles may have been the first band to use feedback on a recording, the incredible Jimi Hendrix perfected the art. Again, which track to choose? FOXY LADY has always been a favourite and it does feature that almost excrutiating feedback at the beginning.
Our final track had me pushing up the sound and dancing out of the studio. Led Zeppelin seem to specialise in fantastic opening segments. A track that I absolutely adore is KASHMIR.
Next week we’ll be previewing the Mullumbimby Music Festival. Lots of great music and, I hope, an interview or two. Should be fun.
Here’s the complete playlist from this week’s show on Great Introductions:
Intro / Sweet Jane – Rock And Roll Animal, Lou Reed
Cannonball – Last Splash, The Breeders
Sir Duke – Songs In The Key Of Life [Disc 1], Stevie Wonder
Walk On By – Dead Presidents, Isaac Hayes
One Step Beyond – Total Madness: The Very Best Of Madness Madness
Hotel California – Hotel California, The Eagles
Immigrant Song – Rock 3, Led Zeppelin
Gimme Shelter – Hot Rocks, 1964-1971 [Disc 2], The Rolling Stones
Wipe Out – The Perfect Wave, The Surfaris
Smoke On The Water – Machine Head, Deep Purple
Thunderstruck – Razor’s Edge, AC/DC
Layla – Layla & Other Assorted Love Songs, Derek and The Dominos
Firestarter – Fat of the Land, The Prodigy
Inertia Creeps – Mezzanine, Massive Attack
Papa Was A Rollin’ Stone – Motown: The Classic Years [Disc 2], The Temptations
Young Americans – Young Americans [Bonus Tracks], David Bowie
I Put A Spell On You – Replay/Gold – Vol 1 No 5, Screamin’ Jay Hawkins
I Feel Fine – Beatles 1, The Beatles
Tin Soldier – The Best Sixties Album In The World Ever III-[Disc 2], The Small Faces
Baker Street – City To City, Gerry Rafferty
Money – Pink Floyd, Pink Floyd
Foxy Lady – Experience Hendrix: The Best Of Jimi Hendrix, Jimi Hendrix
Kashmir – Physical Graffiti, Led Zeppelin
Next week: MULLUMBIMBY MUSIC FESTIVAL PREVIEW
As someone who relies on trying to create a diverse playlist, week after week, the topic of MUSIC GENRES is one that’s dear to my heart. Useful as they are though, identifying genres is a murky and nebulous exercise, open to countless individual interpretations. Just go into any music store and try to establish why Ian Dury’s Sex & Drugs & Rock & Roll can find itself in pop, rock and alternative, all at the same time, and you’ll know what I mean.
In 1979 Malcolm McLaren’s art school classmate Robin Scott had a one hit wonder with POP MUZIK, an ironic and mischievous little tune, under his pseudonym, M: “New York, London, Paris, Munich…. everybody’s talking ’bout pop music.”
According to Bob Seger, today’s music doesn’t have the same soul. He’s feeling nostalgic for some OLD TIME ROCK N ROLL. Sugarhill Gang, on the other hand, are more interested in hip-hop. Their song, RAPPERS DELIGHT, while not the first single to feature rapping, is generally considered to be the song that first made hip hop popular.
Wild Cherry’s song PLAY THAT FUNKY MUSIC is autobiographical in that Wild Cherry was mostly a hard rock outfit. In 1976, however, the Disco era was all the rage and many of the group’s loyal followers were asking for more dance songs. And so was born the request: “play that funky music, white boy”:
Back in 1970, Lou Reed and the Velvet Underground celebrated ROCK & ROLL with their hit song of the same name. By 1977, Bob Marley – together with Steve Tyler & Joe Perry – were giving us three genres for the price of one on ROOTS, ROCK AND REGGAE.
Punk rocker Wreckless Eric took a swipe at the record companies, for the pressure they put on artists to produce a hit single, on POP SONG: “Just a two minute song with a snazzy middle eight.” Yeah, that’s all they wanted.
The Bonzo Dog Doo-Dah Band refuse to take anything too seriously, even the blues. So if you merge music hall and blues, it begs the question: CAN BLUE MEN SING THE WHITES? Our girl Joan Jett is nothing but a rock chick so of course she’s going to sing, I LOVE ROCK N ROLL.
Brooklyn rappers Stetsasonic responded to early criticisms of their sampling by releasing TALKIN’ ALL THAT JAZZ which used a clever collage of borrowings from the likes of Lonnie Liston Smith and Donald Byrd.
I think Lynyrd Skynyrd may know a little bit about the track, SWAMP MUSIC. This style of music is particular to America’s south, particularly Louisiana and Southeastern Texas but it’s developed a worldwide following and I, for one, love it.
It’s both funny and revealing that The Killers wrote INDIE ROCK N ROLL to poke fun at the pretentious and sterile independent scene in their native Las Vegas, only to find that the song was embraced world-wide as a cheerfully un-ironic anthem. Here they are playing live and sounding great:
The Beatles take Chuck Berry’s ROCK N ROLL MUSIC and attack it with such intensity that it seems to symbolise what became known as the British Invasion of the 60’s. In total contrast is Wilco’s wistful ode to youth on HEAVY METAL DRUMMER, from the album Yankee Hotel Foxtrot:
Stevie Wonder ‘s contribution to this week’s topic came in the form of his dedication to Duke Ellington and other jazz greats on SIR DUKE. Arthur Conley did something similar, with his shout out to all the soul icons, on SWEET SOUL MUSIC:
Time for some blues, Creole style, with BOOGIE WOOGIE ZYDECO from Chubby Carrier & the Bayou Swamp Band. Then it was a great piece of music, that recognises the enormous influence of Jazz on all kinds of music: JAZZ THING from Gang Starr. It’s from the soundtrack to the Spike Lee film MO BETTER BLUES, starring Denzel Washington. Absolutely brilliant clip.
There are so many songs that pay tribute to rock n roll that I had to be careful to not let them dominate. But there’s one that I couldn’t leave out – Ian Dury and the Blockheads with the rock n roll anthem, SEX & DRUGS & ROCK N ROLL. I hate the overuse of the word ‘awesome’ but in this case, it’s warranted – AWESOME!!
A song that merges soul and reggae is the very appropriately named REGGAE GOT SOUL from Toots and the Maytals. There are also loads of songs with Blues in the title, so many in fact that I had to restrain myself in this department too. But if you’re going to play one of them, you can’t get better than Buddy Guy with THE FIRST TIME I MET THE BLUES. In this clip he performs with bass player David Myers. It’s from the film CHICAGO BLUES, made in 1970. Now that’s what I call real music.
Bet you thought I wouldn’t give classical a mention. Well, Chuck Berry helped me out there with ROLL OVER BEETHOVEN. Here he expresses the desire for rhythm and blues to replace classical music on his local radio station. On this video clip he’s having a little bit of fun on a French TV show. Not sure of the year, but the song was recorded in 1956:
Couldn’t let disco get away with just a passing mention, so space was made for FRENCH DISKO by Stereolab. The Ramones rescue their disco queen and introduce her to something a bit more rebellious. Now, SHEENA IS A PUNK ROCKER.
We closed the show with a classic from Dire Straits – a song about a jazz band called SULTANS OF SWING.
Love to have your input for next week’s show. The theme is FUNNY SONGS: Songs that make you laugh or at least smirk because they are clever and witty. Ooh I’m looking forward to seeing what you send me.
Meanwhile, here’s this week’s complete playlist:
Pop Muzik – Pop Muzik, M
Old Time Rock N’ Roll – Bob Seger
Rappers Delight – Sugarhill Gang
Play That Funky Music – Those Fabulous ’70s, Wild Cherry
Rock and Roll – Velvet Underground
Roots, Rock, Reggae – Chant Down Babylon, Bob Marley + Steven Tyler + Joe Perry
A Pop Song – Big Smash, Wreckless Eric
Can Blue Men Sing The Whites? – Cornology [Disc 1], Bonzo Dog Doo-Dah Band
I Love Rock and Roll – Joan Jett
Mambo Italiano – Latin Fever [Disc 1], Shaft
Talkin’ All That Jazz – Hed Kandi: Back to Love, Vol. 4 Disc 2, Stetsasonic
Swamp Music – Lynyrd Skynyrd
Indie RnR – Demo, The Killers
Rock And Roll Music – Live At The BBC [Disc 2], The Beatles
Heavy Metal Drummer – Yankee Hotel Foxtrot, Wilco
Sir Duke (Duke Ellington) – Songs In The Key Of Life, Stevie Wonder
Sweet Soul Music – 60’s Soul, Arthur Conley
Boogie Woogie Zydeco – Boogie Woogie Zydeco, Chubby Carrier & the Bayou Swamp Band
Jazz Thing – Moment of Truth, Gang Starr
Sex & Drugs & Rock & Roll – No Thanks! – The ’70s Punk Rebellion (Disc 3), Ian Dury
Soul Makossa – Makossa Man: The Very Best Of Manu Dibango, Manu Dibango
Reggae Got Soul – True Love, Toots & The Maytals
First Time I Met The Blues – Martin Scorsese Presents The Blues – A Musical Journey, Buddy Guy
Roll Over Beethoven – 1956-Rock & Roll Era, Chuck Berry
French Disko – Refried Ectoplasm, Stereolab
Sheena Is A Punk Rocker – All The Stuff (And More), The Ramones
Sultans of Swing – Dire Straits
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 4-6pm, Sydney time
A while back I did a show on ‘Covers That Are Better Than The Originals’ and I had so much fun with that. So this week it was UNLIKELY COVERS. Anything in the previous show was excluded, just to keep me on my toes. But have no fear, there were plenty more, and even quirkier versions, to choose from.
We opened the show with Peter Sellers’ hilarious version of the Beatles A HARD DAY’S NIGHT, in the style of Lawrence Olivier’s Richard 111. Thanks to Andrew for this request.
Andrew also requested the next track on our list: Hellsongs’ version of THUNDERSTRUCK. Hellsongs is an acoustic three-piece that plays what is best described as Lounge Metal. That means metal classics performed with surprisingly clear female vocals, soft guitars, an organ and two male choir-boys. They do a brilliant job of this AC/DC cover.
Stevie Wonder’s version of the Beatles classic WE CAN WORK IT OUT is a good example of what I think defines an UNLIKELEY COVER. Not only does he switch genre, he also reinterprets the emotions that underpin the track, taking it from melancholia to pure elation. So, here’s a treat: A clip from the recent 2010 Glastonbury Festival where Stevie sings both Master Blastin’ and We Can Work It Out. Enjoy.
I’LL BE MISSING YOU by P. Diddy, Faith Evans and 112, borrows the melody and arrangement of Police’s EVERY BREATH YOU TAKE to create a song that was recorded in memory of rap artist Notorious B.I.G., murdered in 1997. Thanks to Robyn for that suggestion.
Scottish alternative pop band Camera Obscura do a great version of the Abba hit SUPERTROUPER, so that had to be included. As did Nick Cave, with the very unlikely cover of Louis Armstrong’s WHAT A WONDERFUL WORLD.
Algerian musician Rachid Taha does an intriguing Arabic version of the Clash standard ROCK THE CASBAH. Check it out:
As someone who loves their Bluegrass and is a hardcore Queen fan, (what’s not to love?), Hayseed Dixie appealed with their cover of Queen’s BOHEMIAN RHAPSODY. Come on, you’ve got to get a chuckle out of this, surely:
We followed with a very gentle rendition of the Guns & Roses’ track SWEET CHILD OF MINE. It’s from Swedish singer Victoria Bergstrom, under her Taken By Trees moniker.
SWITCHED ON BACH is the name of an album by Walter (later to become Wendy) Carlos. Recorded in 1968, using the Moog synthesiser, it became the highest selling classical music recordings of its era. We played one of the best tracks from that album, SINFONIA 35. Carlos went on to make many more recordings, including scores for the Stanley Kubrick films A Clockwork Orange and The Shining.
Paul Kelly only needs his guitar, and his great voice, to create a knock-out acoustic version of the Amy Winehouse signature tune REHAB. I found this on one of the very excellent Triple J Like a Version albums.
One of my favourite films of all time is JUNO and one of the best songs on that soundtrack is Sonic Youth’s cover of The Carpenter’s SUPERSTAR. Karen would have been proud:
The phones ran hot when this next track was played: Legends Willie Nelson and Waylon Jennings gave Procol Harum’s A WHITER SHADE OF PALE a country voice. And then the totally indiosyncratic William Shatner covered Pulp’s COMMON PEOPLE.
But if you thought that was crazy, how about Ani DiFranco and Jackie Chan (yes, that’s correct, Jackie Chan the Hong Kong actor). They contributed a bizarre duet of Nat King Cole’s UNFORGETTABLE. Ani’s voice is great, but methinks that Jacki should just stick to acting (or maybe not!).
We followed with The Clash’s version of Junior Murvin’s reggae classic POLICE & THIEVES. While a punk rock group covering reggae does seem a bit unusual, Joe Strummer makes this great track his own.
Gee, it was hard choosing one of Johnny Cash’s covers. His album American IV: The Man Comes Around is particularly good for UNLIKELY COVERS. My favourite is his version of the Nine Inch Nails song HURT but I have played that before, so I thought I’d bring you his cover of Depeche Mode’s PERSONAL JESUS instead. This album is especially moving as Cash died soon after its release.
Lesley Gore, (that’s right, she of IT’S MY PARTY AND I’LL CRY IF I WANT TO), gave us a great version of AD/DC’s DIRTY DEEDS DONE DIRT CHEAP. Just to prove that she can sing anything she wants to!
R & B great Billy Preston does an interesting cover of pop band Duran Duran’s GIRLS ON FILM. As do the Ramones when they do a punk version of Creedence Clearwater Revival’s HAVE YOU EVER SEEN THE RAIN?
Here’s a combination I really love: C.W. Stoneking, with another track from Triple J’s Like a Version compilation: the White Stripes SEVEN NATION ARMY. Two of my favourite artists, Stoneking and Jack White. I think what makes this so good is that Stoneking hadn’t even heard the song before it was suggested that he do a cover, so it has this incredible freshness to the interpretation. Here’s an interview and his performance live in the studio. So jealous of that presenter!
We followed that with a great pairing: Jim Morrison and The Doors with their version of Howlin Wolf’s BACK DOOR MAN and Patti Smith’s amazing cover of Prince’s WHEN DOVES CRY. Thanks again to Rob for suggesting that one.
How perfect is Sid Vicious’s punk version of MY WAY, made famous originally by Frank Sinatra? Let’s face it, he couldn’t sing, couldn’t play but gee he knew how to take the piss out of society. Miss that.
What to finish the show with? Well, a cover of Led Zeppelin’s STAIRWAY TO HEAVEN seemed an obvious choice but which version? Rolf Harris came to mind, especially after his recent appearance at Glastonbury but I’m not a big fan. Instead, the honour went to one of the best musicians in rock history, Frank Zappa.
Next week the theme is a staple of pop music: SWEETS, all those yummy sugary foods that symbolise so much about personal relationships. Let me know if you have any good suggestions. Love having your input.
For now, here’s this week’s complete playlist:
A Hard Day’s Night (Beatles cover) – Time To Remember 1965, Peter Sellers
Thunderstruck (AC/DC cover) – Hymns In The Key Of 666, Hellsongs
We Can Work It Out (Beatles) – Greatest Hits, Vol. 2, Stevie Wonder
I’ll Be Missing You (Police) – P. Diddy
Super Trouper (Abba cover) – Tears For Affairs, Camera Obscura
What a Wonderful World (Louis Armstrong cover) – B-Sides & Rarities, Nick Cave/The Bad Seeds
Rock el Casbah (Clash cover) – Arabian 2000 & 1 Nights, Rachid Taha
Bohemian Rhapsody (Queen cover) – Killer Grass, Hayseed Dixie
Sweet Child Of Mine (Guns & Roses cover) – Taken By Trees (Victoria Bergsman)
Sinfonia 35 – Switched on Bach, Walter (Wendy) Carlos
Rehab (Amy Winehouse cover) – Like A Version Four, Paul Kelly
Superstar (Carpenters Cover) – Juno Soundtrack, Sonic Youth
A Whiter Shade of Pale (Procol Harum cover) – Always On My Mind, Willie Nelson & Waylon Jennings
Common People (Pulp) – Triple J Hottest 100: Volume 12 William Shatner/Joe Jackson
Unforgettable (Nat King Cole)- When Pigs Fly: Songs You Never Thought You’d Hear, Ani DiFranco & Jackie Chan
Police & Thieves (Junior Murvin) – The Clash, The Clash
Personal Jesus (Depeche Mode) – American IV: The Man Comes Around, Johnny Cash
Dirty Deeds Done Dirt Cheap (AC/DC cover) – When Pigs Fly: Songs You Never Thought You’d Hear, Lesley Gore
Girls on Film (Duran Duran cover) – When Pigs Fly: Songs You Never Thought You’d Hear, Billy Preston
Have You Ever Seen the Rain (Creedence Clearwater) – The Ramones
Sinfonia 35 – Switched on Bach, Walter (Wendy) Carlos
Seven Nation Army (White Stripes cover) – Like A Version Four, C.W. Stoneking
Back Door Man (Howlin Wolf cover)- The Doors, Jim Morisson/The Doors
When Doves Cry (Prince cover) – When Doves Cry, Patti Smith
Surﬁn’ USA (Beach Boys) – The Jesus & Mary Chain
My Way (Frank Sinatra) – The Great Rock ‘N’ Roll Swindle, Sid Vicious
Stairway To Heaven (Led Zepelin Cover) – Frank Zappa
Next week: SWEETS (Yummy, yummy, yummy I’ve got love in my tummy!)
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 4-6pm, Sydney time
Memories can haunt us, no matter how much we want to escape them. There are false memories, conflicting memories of the same event and memories that clash with the reality of the present. Thanks to mass media, memory isn’t something that only belongs to us as individuals. When we see scenes at the cinema or television or on DVDs over and over again, they become part of our collective memory. Even if you’ve never seen the film King Kong you know that there’s a scene where a big gorilla climbs up the Empire State Building with a human girl in his hand. And whenever a comedy show or film features a scene where someone is killed or threatened in a shower most people understand it’s a parody of Psycho. So mass media, film and television in particular, have contributed hugely to a memory that we share with millions of other people.
Unfortunately, we remember melancholy and pleasure in equal measure. The concept of looking back in hindsight is also a bit complicated. It’s easy to write off youthful idealism as simply being naïve as Stevie Wonder did in our opening number YESTERME, YESTERYOU, YESTERDAY. According to Stevie it was all “a cruel and foolish game we used to play”. Well that’s how he remembers it anyway.
And talking of cruel, I can’t imagine anything worse than getting Alzheimer’s disease and Elvis Costello’s song VERONICA is all about that. It tells the story of an old lady who lives in a nursing home and is gradually losing her memory. It was inspired by Costello’s grandmother.
The Ramones want to know DO YOU REMEMBER ROCK ‘N’ ROLL RADIO? Has it ever gone away?
Collecting objects that remind us of old times should bring back good memories, but that’s not always the case as Soft Cell tell it in MEMORABILIA. Sarah Vaughan would rather experience something that didn’t work out than never do anything at all in I’D RATHER HAVE A MEMORY THAN A DREAM. The real classic of this triple play, however, was the Shangri-Las with their ode to a lost love affair: REMEMBER (WALKIN IN THE SAND). Here’s a great clip from the excellent “Songmakers Collection” DVD, with interviews with Mary Weiss and writer producer George ‘Shadow’ Morton about this track and their other hit, LEADER OF THE PACK.
Jurassic 5 dug deep into their memory banks for REMEMBER HIS NAME. As did Fall Out Boy for THNKS FR TH MMRS . The Zutons, REMEMBER ME is about those kind of friends who seem to forget you once they are entrenched in a romantic relationship. Don’t you just hate that!
THOSE WERE THE DAYS is from Cream’s 1968 album Wheels of Fire. The album cover was designed by Australian artist Martin Sharpe and it won the the New York Art Directors Prize for best album cover in 1969. The sound on the album was characterised by a hybrid of blues, hard rock and psychdelic rock, combined with Eric Clapton’s blues guitar, Ginger Baker’s jazz-influenced drumming and the basslines and voice of Jack Bruce.
One of the most beautiful voices I’ve heard belongs to Sarah McLachlan. And one of my favourite songs of hers is one that I first heard on the soundtrack to the film The Brothers McMullen. It’s called I WILL REMEMBER YOU.
Otis Redding’s name is synonymous with the term ‘soul’ and we had to include his classic with I’VE GOT DREAMS TO REMEMBER. Redding died at the very early age of 26 but his memory is kept alive with the Youth Educational Dream Foundation and a very good website. Go to: http://www.otisredding.com/
British group Bloc Party look back regretfully on an opportunity for love that wasn’t realised in I STILL REMEMBER:
The Kinks wonder what ever happened to their childhood friend in DO YOU REMEMBER WALTER? It’s from their album The Kinks Are the Village Green Preservation Society.
The Supremes reflected on the good and bad memories of a love that used to be in REFLECTIONS while Jimi Hendrix had only good memories of a past love, (he even wants her back!), in REMEMBER.
Relationships that survive depend partly on shared memories, but those memories need constant topping up. Indie rockers, Yo La Tengo document this well in OUR WAY TO FALL.
There was a fair bit of nostalgia in this week’s show, (well what did you expect?) and one of my faves was The Platters with REMEMBER WHEN. Also fitting the bill was Elvis Presley who seems somewhat confused in I FORGOT TO REMEMBER TO FORGET.
Memories, daydreams, disconnected thoughts – they fill our minds in a never-ending rush. Our next song, THE WINDMILLS OF YOUR MIND, evoked this beautifully, conveying the incredible weirdness of our thought processes. If you’re after nostalgia then what about Noel Harrison with the original version of the song that served the film The Thomas Crown Affair so well.
Ok back to recent memories. Jack Johnson wonders DO YOU REMEMBER? and P.M. Dawn are SET ADRIFT ON A MEMORY. Thanks to Lynden for suggesting that one and several others on our list today.
One of my favourite films deals with amnesia. Memento, starring Guy Pearce, and directed by Christopher Nolan, is a fascinating story about someone who can’t store new memories. A song about about the subject is I DON’T REMEMBER by Peter Gabriel.
Bob Dylan’s memory song is a love ballad from the Empire Burlesque album: I’LL REMEMBER YOU. And if its nostalgia that you’re after, consider MEMORIES ARE MADE OF THIS from Dean Martin. An oldie but a goodie, as they say.
I’ll never forget Michael Jackson with REMEMBER THE TIME from the Dangerous album. Another sad memory for me is Freddy Mercury singing THOSE WERE THE DAYS OF OUR LIVES which many think was the song he dedicated to his fellow Queen members when he knew that he was dying.
Back to the 70’s and some Aussie based punk rock: remember The Saints and MEMORIES ARE MADE OF THIS?
We closed the show with a cover of a song that I swore I wouldn’t play this week, but this version is so sweet it had to make the cut: The Waifs with a little help from Clare Bowditch. They’re singing Frank Ifields I REMEMBER YOU.
This week’s theme on MEMORY segues nicely into next week’s topic. My computer crashed last week and I had to invest in a drive with a lot more memory to cope with all the songs that I collect for these shows. So next week its MACHINES, ROBOTS AND COMPUTERS. No Television or Radio songs please because you know they are a whole theme to themselves. and no modes of transport, for the same reason. But any other gadget or gizmo is up for grabs.
Here’s this week’s complete playlist. All songs available on iTunes.
Yesterme Yesteryou Yesterday – Stevie Wonder
Veronica – Elvis Costello
Do You Remember Rock ‘N’ Roll Radio – The Ramones
Memorabilia – Soft Cell
I’d Rather Have a Memory Than a Dream – Sarah Vaughan
Remember (Walkin’ in the Sand) – The Shangri-Las
Remember his name – Jurassic 5
Thnks fr th Mmrs – Fall Out Boy
Remember Me – The Zutons
Those Were The Days – Cream
I Will Remember You – Sarah Mclachlan
I’ve Got Dreams To Remember – Otis Redding
I Still Remember – Bloc Party
Do You Remember Walter – The Kinks
Reﬂections – Diana Ross & the Supremes
Remember – The Jimi Hendrix Experience
Our Way to Fall – Yo La Tengo
Remember When – The Platters
I Forgot to Remember to Forget – Elvis Presley
Do You Remember – Jack Johnson
The Windmills Of Your Mind – Noel Harrison
Set Adrift On Memory Bliss – P.M. Dawn
I Don’t Remember – Peter Gabriel
I’ll Remember You – Bob Dylan
Memories Are Made Of This – Dean Martin
Remember The Time – Michael Jackson
Memories Are Made of This – The Saints
Those Were The Days Of Our Lives – Queen
Remember You (feat. Clare Bowditch) – The Waifs
Exciting times for Theme Park. This week marks the first show of the Summer season, our First Anniversary and it was our Melbourne Cup Special with a live cross to Melbourne for Australia’s #1 horse race. We ran a sweep for our subscribers, with great prizes, and lots of fun was had by all. But what about the music, you may well ask? The theme this week, quite appropriately I think, was LUCK.
We opened the show with Stevie Wonder’s SUPERSTITION. Stevie knows that it’s easy to blame bad luck when things go pear-shaped, but he’s not up for making excuses. “When you believe in things that you don’t understand, then you suffer”, he states with no uncertain authority. Here he is in the studio, circa 1973:
People have a tendancy to limit a person’s achievements by simply limiting it to ‘luck’. But don’t be envious, things aren’t always as great as what they seem, as Britney Spears points out in her 2000 song LUCKY, which spookily foreshadows her future breakdown. Thin Lizzy have a similar problem: They can’t help thinking that the grass is always greener on the other side: Someone else, somewhere else, is luckier than them. The song is HOLLYWOOD (Down On Your Luck) from their Renegade album. Here they are performing live in 1982:
Harold Melvin & The Blue Notes can even make a song about bad luck funky with a great piece of disco called, (what else?), BAD LUCK. The JoBoxers are lucky in love and they want the world to know it. What better way than a song called JUST GOT LUCKY? Bonus: Cute dog in this video clip:
When it comes to love we all know there’s a downside and no other genre does bad luck as well as the Blues category. Memphis Minnie seems lucky in love, because she has no trouble finding a guy; the trouble is, as soon as she finds one, disaster strikes. The song is I’M A BAD LUCK WOMAN. We followed with one my favourite jazz performers, the wonderful, melancholy voice of Chet Baker singing EVERYTHING HAPPENS TO ME.
I had to include two of my faves: The Verve with LUCKY MAN and PJ Harvey with GOOD FORTUNE – The track is from her album Stories from the City, Stories From the Sea:
Alison Krauss and Union Station sang THE LUCKY ONE right up until we crossed to to Melbourne for the Cup broadcast. Congratulations to BayFM subscriber Annette who drew the winner of the race, SHOCKING, and therefore won the sweep and the dinner for two at Utopia Restaurant with limousine transfers from Bangalow Limousines. Thanks to everyone who rang in for the sweep; filled in a record 5 minutes!- and thanks also to our sponsors.
While we recovered from all that excitement we listened to a little R&B: YOU WIN, I LOSE from Little Johnny Taylor and LUCKY LIPS from the fantastic Ruth Brown. Jason Mraz and Colbert Caillat offered up a cute bit of optimistic pop with their duet LUCKY. Matchbox Twenty aren’t so positive. Their song, SEMI-CHARMED LIFE, indicates a bit of a ‘glass-half-filled’ take on life.
A song I’ve played before, but couldn’t resist, was LUCKY NUMBER by the amazing Lena Lovich. It’s a great piece of New Wave from 1978. If you want to check out the video clip go to the show on the Number ONE.
Remember Alan Price singing O LUCKY MAN! from the film of the same name? I’d forgotten how good that was. Starring a very young Malcolm McDowell and directed by the legendary Lindsay Anderson, here’s a clip from the film that features Alan Price singing the title song.
Another great song is FORTUNE TELLER. Originally recorded by Benny Spellman in 1962 it’s been covered many times. We played the version by Robert Plant and Alison Krauss from their Grammy Award winning album, Raising Sand. We also included two songs about how much ‘attitude’ influences luck. Lynard Skynard were crying out for sympathy with their song GOOD LUCK, BAD LUCK: “When it’s good luck you’re the last to get it, when it’s bad luck you’re the first.” Ah well, some would call that a persecution complex. Mary Chapin Carpenter knows how to have a good time. She ignores all advice, to her benefit, with the very chirpy I FEEL LUCKY:
We closed the show with The OJays singing THEY CALL ME MR. LUCKY and then it was a perfectly pitched piece of pop – Rod Stewart’s SOME GUYS HAVE ALL THE LUCK.
Here’s the complete playlist:
Next week: FASHION. I’d love to have your suggestions for the playlist.
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 2-4pm, Sydney time.
Also streaming on http://www.bayfm.org
Tragically also on Facebook: http://www.facebook.com/maccalyn
So what makes a great cover? I think it’s when an artist makes a song his or her own, while still respecting the essence of the original. There are some exceptional covers that completely redefine a song to the point that we identify the tune with the cover artist forever more. And we had a few of those this week in our show about COVERS THAT ARE BETTER THAN THE ORIGINALS.
John Coltrane transformed The Sound of Music’s perky pick me up MY FAVOURITE THINGS into something of a jazz landmark, so, as our opener, it served as a very good example of a song that was reinvented for the listener. Another supreme example of a good cover is Ray Charles rendition of the Beatles ELEANOR RIGBY. His powerful and moving version uses R & B piano and gospel vocals to create something unique from what was a pretty perfect piece of pop to begin with. Check out this clip from the Dick Cavett show 1972. Loving the Raelettes moves, not to mention the pastel kaftans!
In his latter years Johnny Cash recorded a number of covers that, at first glance, seem at odds with his ‘country’ persona. None is more moving than HURT. Cash takes all the self-pity out of the Nine Inch Nails junkie confessional and turns it into an old man’s devastating deathbed testimonial. Take a look at this video clip. It’s a poignant performance that’s almost haunting, as it was created just prior to Cash’s untimely death. Whether or not you’re a Johnny Cash fan, this performance is powerful and deep with emotion.
ALL ALONG THE WATCHTOWER from Jimi Hendrix was written, and first recorded, by Bob Dylan. He’s one of the most-covered musicians in history for a reason: Besides writing some of the best songs of the rock era, he’s made lots of recordings that sound unfinished, even skeletal.The original of ALL ALONG THE WATCHTOWER is spine-chilling in its own strange way, but the song didn’t become a classic until Jimi Hendrix unleashed his version. Hendrix seems to channel pure myth and mystery. Of course, it wouldn’t work without Dylan’s lyrics and unsettling chords, but the Hendrix solos actually sound like wind howling and wildcats growling, don’t you think?
Canadian band, Cowboy Junkies, version of The Velvet Underground’s SWEET JANE was based on the one that was included in 1969: The Velvet Underground Live. Lou Reed himself described it as “the best and most authentic version I have ever heard”. At the risk of including way too many video clips, I have to show you this:
The Lennon/McCartney single, WE CAN WORK IT OUT, comes from the middle of The Beatles most radical creative reinvention, the 1965 shift from the straightforward pop of Help! To the multi-faceted Rubber Soul, which would revolutionise their music, and by extension, everybody’s else’s. So, it’s fitting that when Stevie Wonder covered the song on 1970’s Signed, Sealed & Delivered, he was in the middle of a similar transition from Motown’s teenage wunderkid to the socially conscious and superfunky artist he became in the mid 70’s. Wonder’s performance is so powerful, in fact, that it changes the meaning of the song without changing a word.
We teamed that with Ike & Tina Turner’s version of PROUD MARY. As Tina explains in the fairly subdued preface: “We never, ever do nothin’ nice and easy. We always do it nice and rough.” The Turners – and their band – then tear the intro to shreds by kicking up the tempo, adding horns and driving it all with a beat that practically demands that people dance. By comparison, Creedence Clearwater Revival’s original mid-tempo rock number sounds positively bland.
One sure-fire way to reinvent a song is to flip the sex of the singer. Two examples of that are Melanie’s version of the Stones’ RUBY TUESDAY and Regina Spektor’s version of John Lennon’s REAL LOVE.
Another is Janis Joplin’s cover of Roger Miller’s ME AND BOBBY MCGEE. Joplin’s version gave her the only number one single of her career and only the second posthumous number one single in rock n roll history (the first was Sittin’ on the Dock of the Bay by Otis Redding).
Back to boys on boys: Edgar & Johnny Winter do a wonderful version of TOBACCO ROAD, recorded originally by the Nashville Teens. And idiosyncratic Melbourne performer, C.W. Stoneking, puts a whole new spin on the White Stripes SEVEN NATION ARMY. The clip is from radio station’s Triple J’s ‘Like A Version’ series, available on CD/DVD. Wild.
My favourite number in this week’s playlist was suggested by a Sydney listener, Lynden (thank you!): Jazz singer Patricia Barber with her interpretation of Sonny & Cher’s THE BEAT GOES ON. And then Stevie Ray Vaughan gave Jimi Hendrix a run for his money with his version of VOODOO WOMAN.
Two of my all time favourite R&B artists followed: Al Green taking the Bee Gees ballad HOW CAN YOU MEND A BROKEN HEART to a whole new level and Aretha Franklin showing us how her version of Otis Redding’s RESPECT made it, not only an anthem for the feminist movement and the civil rights moviement, but, her very own signature song. Here’s a great little doco from Ovation TV looking at Aretha’s background and the important place that the song has in history.
English groups of the 60’s, in particular The Beatles, weren’t adverse to borrowing from the American R&B artists of the day to create some of their early hits (think of the Beatles Please Mr. Postman as an example). One R&B song that achieves a great transformation from R&B to rock is the Rolling Stones cover of the Temptations JUST MY IMAGINATION.
A male rock song that benefited greatly from being sung by a woman is GLORIA. Patti Smith introduced bisexuality and religious guilt to the horny garage rock song, originally recorded by Van Morrison’s band Them.
BY THE TIME I GET TO PHOENIX was originally recorded by Jimmy Webb. Isaac Hayes takes the listener on an epic journey by re-imagining the song’s entire context so persuasively that by the time he starts actually singing, the emotional force just about knocks our socks off.
Sometimes it’s hard to listen to any Doors song with a straight face, let alone LIGHT MY FIRE. Jackie Wilson had a bit of fun with his vastly superior version: its pure funk and I love the way Wilson punctuates it with his trademark squeals and screeches. It’s way sexier than the Doors’ psychedelic original, that’s for sure.
One of those songs that will forever be owned by the cover artist is Sinead O’Connor’s NOTHING COMPARES 2 U. Originally recorded by Prince’s group Family but no-one much remembers that now. Here’s the official clip showing her at the pinnacle of her career. Beautiful.
Now before the messages start filling my inbox, I’m sure that I’ve missed some obvious great covers and two hours is not nearly enough time to give credit where credit is due. Let’s go on the record as saying that, yes, every cover of a Leonard Cohen number is probably better than the original (sorry Leonard) but if I hear HALLELUJA one more time I will scream; that Cat Power is very good, but not a genius and that no-one can do Roy Orbison like Roy Orbison, not even kd lang.
And so I chose to go out with the Clash’s cover of I FOUGHT THE LAW AND THE LAW WON, originally recorded by The Bobby Fuller Four and then it was something quite special: ARE YOU LONESOME TONIGHT? was first published in 1926 and was most notably covered by Elvis Presley in 1960. I have no idea when this version was recorded, most probably when the Beatles toured the US in the mid 60’s. It’s Elvis with Roy Orbison and the Beatles doing back-up. I’ve only been able to find it as a download but if anyone has any back story on this, let me know. And the finale was The Beatles covering TWIST & SHOUT, originally recorded by the Top Notes but most people may be more aware of the Isley Brothers version. The Beatles definitely made this one their own.
Here’s the complete playlist, with original artists in brackets:
My Favourite Things (Julie Andrews/ The Sound Of Music) – John Coltrane
Eleanor Rigby (The Beatles) – Ray Charles
Hurt (Nine Inch Nails) – Johnny Cash
All Along The Watchtower (Bob Dylan) – Jimi Hendrix
Sweet Jane (Lou Reed/Velvet Underground) – Cowboy Junkies
We Can Work It Out (Beatles) – Stevie Wonder
Proud Mary (Creedence Clearwater Revival) – Ike & Tina Turner
Ruby Tuesday (Rolling Stones) – Melanie Safka
Real Love (John Lennon) – Regina Spektor
Seven Nation Army (White Stripes) – C.W. Stoneking
Tobacco Road (Nashville Teens) – Edgar & Johnny Winter
Me And Bobby McGee (Roger Miller) – Janis Joplin
The Beat Goes On (Sonny & Cher) – Patricia Barber
After Midnight (JJ Cale) – Eric Clapton
Voodoo Child (Jimi Hendrix) – Stevie Ray Vaughan
How Can You Mend A Broken Heart? (Bee Gees) – Al Green
Respect (Otis Redding) – Aretha Franklin
Just My Imagination (The Temptations) – The Rolling Stones
Gloria (Van Morrison/Them) – Patti Smith
By The Time I Get To Phoenix (Johnny Rivers/Glen Campbell) – Isaac Hayes
Light My Fire (The Doors) – Jackie Wilson
Nothing Compares 2 U (The Family/Prince) – Sinead O’Connor
I Fought The Law (Bobby Fuller Four) – The Clash
Are You Lonesome Tonight – Elvis Presley & Roy Orbison (with the Beatles as the backup singers)
Twist And Shout (Top Notes/Isley Bros) – The Beatles