We're in the waning days of summer, so I felt like this was the day.
This song from this summer, by two Canadian superstars (including the one that will forever be known around here as #1000), is a real banger. Let's just start there. The song starts with pretty typical deadmau5 house beats - upbeat, danceable. The addition of the (God help me for what I am about to say) light (sigh) poppy Lights vocal really sells the song. It is the summer anthem we needed.
This song is so cool, there was an official remix released two days after this came out, and it was amazing. I don't usually share remixes here, but this one is that good.
(Update: 7 Oct 2021) 'bout time we got an official video, folks.
This is something of a supergroup - a one-off collaboration between Phantogram and Big Boi from Outkast, with Sarah Barthel and Big Boi providing primary vocals and Josh Carter serving as primary producer.
Big Boi famously accidentally discovered Phantogram when their song "Mouthful of Diamonds" was used in a popup ad he saw, and he immediately started promoting them. That led to a friendship and professional relationship that included the Big Grams project.
Did the entire project work? No, of course not. It's a weird mix of the distinctive Phantogram electronic sound and Big Boi's signature hip hop. Where it DID work, like this song, it was sonic gold.
This is the stepsister I told you about yesterday.
This performance is from MTV and I remember watching it in 1994 when it first aired. I was quite excited about the Kristin Hersh debut solo album, Hips and Makers. You see, her previous band, Throwing Muses, was my favorite (still is), so I was expecting another album like that, maybe with less drums.
Lyrically, that's exactly what it was, but musically, it was far more acoustic-guitar driven. This song exists in both an original version, which is pretty much Kristin with a guitar, and a "strings" version, which adds a few more, well, strings. This performance is the former.
That piece is Belly lead vocalist, guitarist, principal songwriter, and postpartum doula Tanya Donelly. This song, the second single off the band's second album, King, it was co-written with fellow band member Tom Gorman.
Prior to Belly, Tanya was in a band with her stepsister who shall not be named here because we are talking about Tanya (and who I've written about pretty extensively). Her songs with Throwing Muses were excellent - her songs with Belly better showcase her unique voice and signature guitar style, an instrument for which she is criminally underrated.
This song was not terribly commercially successful, but history has been kind to it. It is a classic power-pop song that sounds as fresh today as it did in 1995.
This song was from their debut album, Pod. At this point, the band was essentially the trio of women you see here - Josephine Wiggs (of the Perfect Disaster) on bass, the incomparable Tanya Donelly (of Throwing Muses and later Belly) on lead guitar, and Kim Deal (of the Pixies) on vocal. If you look closely, you'll see fourth member Britt Walford (of the Slint) on drums in the other room.
This very fuzzy rock song is lesser if you take any of these pieces away. Without Deal's desperate vocal, Wiggs's perfect bass, or Donelly's distinctive guitar, it's a lesser song. Together, it was pure magic.
Boy, isn't it a shame that no one makes good, complex music anymore?
Anyone who knows this blog knows we don't actually believe that. There is excellent music being created, and Billie Eilish's latest single - released July 30th, from her 2nd album of the same name - is what we'd use as Exhibit A. It starts off quietly - a cool throwback to 60s vocal-heavy ensembles like The Mamas and The Papas. Getting a real Mama Cass vibe here. At about the 2:30 mark, it smoothly switches genres to be more of a 90s alternative tribute, before really exploding at the 3:00 mark and ending with a huge sonic deconstuction.
Lyrically, it's not a happy song, despite the title. Not only is the music complex, but the words express complex emotion - being happier without someone than with them, and articulating that in a way that captures the true range of emotions related to that.
As with most of her music, this song was co-written by Billie and her brother/producer Finneas. She's only 19, folks. She's likely to have a long career ahead of her, and she's ALREADY flexible enough to reinvent herself.
As you do when you are the biggest star on the planet, it is customary to perform your hit songs on late night talk shows. Which Billie did - last week, on The Tonight Show.
I was thinking over this past weekend that I had been remiss in posting 80's R&B on this blog. It's woefully underrepresented, and that's wrong.
The Wilson Brothers from the Greenwood neighborhood of Tulsa, OK were The GAP Band. Despite urban legend, this song is not about the 1921 bombing of that neighborhood, but rather about a surprising end to a relationship. The song WAS considering questionable because of this - and the origin of the band's name, as "GAP" in the bands names came about from the names of the streets where the bombs were actually dropped, Green, Archer, and Pine.
Yeah. I went dark. But this song went a different kind of dark - sadness sung over synth. It ended up sparking one of their biggest hits, hitting the Top 40 on the pop charts and #2 on what was known as the Black Singles chart - and is now the R&B chart - in 1982.
This song, the first single from Sam Phillips's critically acclaimed Martinis and Bikinis album - her 3rd as Sam and 7th overall - was a true departure from her Christian music days. The line "I need God, not the political church" is really a slap in the face to that world. However, it's also some of the most critically acclaimed music of her career, and a revelation of what was to come.
And by a revelation of what was to come, I mean it is said that the photos of Sam used in the album art directly led to her role as a mute terrorist in Die Hard With A Vengeance. Yep, that was her. You didn't know that, did you? You learned something today.
Now listen to this and learn some new good music.
Did you like that? Well, here she is performing the song on late night television in 1994. It sounds strange to hear the song without the background vocals (which were also Sam, by the way), but it's also a pure rendition.
So when I was younger, I studied Spanish linguistics. That's true. One of my classes was about the evolution of the language, and an assignment of ours was to choose a Spanish language song from a different part of the world and run with it - basically dig into the different dialects.
This was the song I chose. Los Angeles Spanish from a Massachusetts band.
I was ridiculed because it's a little Spanglishy, but really, that's what LA Spanish IS - there is English mixed into the Spanish.
I guess this kind of turned into a thing. Well, it is a good thing. This has been a great music week.
You know what else is great? This 1998 single by Elvis Crespo, which actually crossed over onto the English-language pop charts for a couple of weeks. For many, this was the first introduction to the horn-heavy merengue style. For Elvis Crespo, this was his debut solo single, having been a member of a couple of Puerto Rican merengue ensembles prior to this.
On a personal note, this is one of my very favorite songs in any language. It is not remarkable lyrically (he's asking a girl to kiss him. A lot) or musically (it's merengue), but together, it is a fun, energetic song. By the end of the song, you're going to be singing "BesƔndome otra vez" too!
For now, sit back and enjoy this great tune, and try not to dance.
I really am not doing a thing here. I just want to put it out there. This classic song wasn't completely written by Richie Valens. But it's not a cover. He took a traditional Mexican folk song and set them to a rock line - that he, at his very young age, wrote himself.
The song was to #22 on the pop charts in 1958. He died in February 1959, in a plane crash with Buddy Holly and The Big Bopper, aged 17 - so he was younger than that when he wrote this simple but perfect verse-chorus-verse rock song.
Now, what Los Lobos did when they took the song to #1 on the pop charts - THAT was a cover.
I promise you there are no plans for a weekly theme here. But when Columbian superstars Carlos Vives and Shakira collaborate on a song that they cowrote and put on BOTH of their albums, I can't ignore that.
The song, which was decades in the making, musically pays tribute to their native Columbia - bringing in many elements of Columbia traditional music. The lyrics do as well - it is absolutely about a bicycle ride, but it's a nostalgic trip through their hometowns - a sweet, reflective song. The video reflects the locales mentioned in the lyrics, as the two of them bicycle through their respective hometowns seeking out dance battles. As you do.
I mean, she's got albums besides LimĆ³n y Sal. She's got a lot of them.
I've been talking for years about the unsung greatness of Julieta Venegas - which I stand by. I mean, it's not really unsung - she's got a Grammy (for LimĆ³n y Sal, to be fair) and six Latin Grammys sitting on her shelf. One of those Latin Grammys was for Algo Sucede, the 2015 album from which this song is taken.
The song itself is a simple love song - talking about the happiness of love and how you really need nothing else. Because, well, everything is here. It is brilliantly written and performed.
Julieta herself is multiinstrumental. The original version of this song was, of course, piano-centered. However, that doesn't mean she can't perform it on guitar, too.
Don't worry. We're not doing a Spanish week. We ARE going to post Julieta Venegas whenever she pops up on our radar, though, because she is a delight, and she DID when we started writing yesterday's post - because, of course, all Spanish-language artists are the same, right?
Wrong. Really, really wrong.
This song, the title song from her Grammy Award-winning hit album of the same name from 2006, deals with the acceptance of a loved one for everything they are - the good and the bad - fitting in thematically with the whole album's theme of the ups and downs of relationships.
That's right, English speakers. These theme exist in songs in other languages. And few write them better than Julieta Venegas. She has forged a quiet and understated, yet very successful, career writing thoughtful music in Spanish - and, thirty years into her career, continues to do so.
She also continues to perform this song. Here she is, on piano in 2000, giving a heartfelt rendition of the tune in a live performance to a pandemic-driven empty room. I haven't mentioned here that she's multiinstrumental (I did here) but, she's multiinstrumental.
I had to go ahead and just use all the special characters in this one.
You see, this was a breakthrough single for Mala RodrĆguez in Spain, but Spanish TV banned this video. Something about a child as a drug dealer didn't sit well with the censors. However, that's what the song is about - a kid who wants to be a drug dealer like her dad.
I've said it before - people aren't used to a girl from Sevilla being so in-your-face with hip hop and talking about such taboo subjects - and so brilliantly.
This song is from 2003. So many years later, La Mala still performs it. Here she is in April, taking a break from her yoga content on Twitter, to perform the song live. Her performance at 42 is a little more laid back and subtle than at 24, but it's still epic and powerful, painting a colourful picture.
I had SO MUCH material for #MapleLeafMarch that I literally posted every day - and we rarely do weekend posts here - and even double posted for a couple of days.
I STILL have material.
Maybe I should make it an annual thing. Hmmmm.....
I somehow didn't get to Joni Mitchell, from Fort Macleod, Alberta. That's right. She's not only from Canada, she's from the part of Canada that 90% of the country doesn't live in. Clearly, she is a legend - winning many Grammys and Juno Awards. This song, from 1970, was one of her first hit singles, and it's a cheery-sounding song that actually decries the suburban sprawl that was happening at the time. It is still one of her best-known songs, and the message still resonates, more than a half century later.
That's right. Joni Mitchell has been making music for more than a half century. She's slowed down in her late 70's - largely due to a brain aneurysm rupture she suffered in 2015 - but she has not stopped.
Growing up, the Blake Babies were one of my very favorite bands. And, well, the solo stuff that came out of that band - the Lemonheads, Antenna, of course Juliana Hatfield, Some Girls - that was all excellent, but I always felt the Blake Babies ended too soon.
I was lucky enough to see the band live once, at the Iron Horse Cafe, where they performed this song but did cut their set short because 3/4 of the place left after fans of their opening act didn't stick around. Which is a shame, because I loved the show and made sure I told all of them I did. Freda Love (their drummer) was super nice.
Anyway, this was their first "big budget" video, and this is what they did. It got them some MTV airplay, anyway. The song itself was co-written by Hatfield and guitarist John Strohm and reads like the aspirational dreams of a painfully shy person - so I relate.
In early 2020, by pure chance (and by pure chance, I mean that Freda Love's band was opening for Juliana Hatfield in John Strohm's hometown), the band reunited for this song. They had lost NOT a single beat.
Classic music videos for songs released in 1975 don't often exist.
But then again, the male protagonist in this video would have been 1 in 1975.....
The song peaked at #36 on the Billboard Hot 100, making this the first top 40 hit for the band and kicking off a string of hit songs. I'm not going to talk about that. I'm going to talk about the drums. Now, you hardcore musicians know that, in a song in 4/4 time, the drum usually hits on the 2nd and 4th beat. In this song, it hits on 1 and 3. It's upside down, and it works, brilliantly.
The band broke up in the early 1980's but reformed in the mid 1980's and enjoyed a resurgence, leading to a release of this single, alongside this video, in 1991.
All these years later, the band still tours and still brings high energy. Here they are in a 2011 performance. Joe Perry's unusual background vocal is more pronounced here.
Sure, this is probably the second best known song by Moby, and it was released three years after I saw him live, which means he didn't perform the song.
This song is pretty heavily reliant on a sample - "Sometimes" by Bessie Jones - to the point that the the writers of that song are listed as co-writers on "Honey". It is very clearly Bessie Jones singing all the lyrics on this song. A later remix of the song included vocals from Kelis, but Jones is still central to the song. It doesn't exist without her.
To his credit, Moby adds a lot to the samples with his forte, and that's electronic music.
On days when we run out of ideas, we post about Madonna.
But she has had such a long career and so many guilty pleasures. So it's hard to avoid her.
Maybe we should have made her a Hall of Famer, instead. Oh well.
This song is from the soundtrack of the movie Austin Powers: The Spy Who Shagged Me and ended up being a pretty big worldwide hit. Ironically, because we were entering a digital era that the Billboard Charts had not yet accounted for, this song only reached #19 in the US, but that was WITHOUT single sales, which were a large aspect of the chart at the time. It was a much bigger hit in almost every other country.
On a personal note, I've been a fan of Madonna since her first album, and this was a high water mark for her, in my view.
The song has become something of a staple of hers live, even to this day. Madonna does not alter her voice much in studio (and it's a little on the huskier side so hitting notes isn't usually an issue).
40 years ago, at 12:01am on August 1, 1981, a new cable television station went on the air. That channel was, of course, Music Television, or MTV, for short.
You remember.
Famously, this was the very first video played on MTV. Although a 1979 release by Trevor Horn's project, The Buggles, it did have a small resurgence in 1981 because of this.
Technically, we posted this on the wrong blog. Here's why I'm giving it a pass. It was written by Trevor Horn and Geoff Downes, and Bruce Wooley - who were The Buggles. Wooley left to form Bruce Wooley and the Camera Club and released his version of the song FIRST. It's not the only song he took, but in the end, the Buggles version persisted.
Here is the Bruce Wooley and the Camera Club version of the song. The recording features another "one-hit wonder", Thomas Dolby, on keyboard.
Trevor Horn is still making music. Here he is with his band The Producers in 2014, performing the hit that made Trevor Horn a worldwide star. He's showing a bit more expression in this performance......
In the late 1980s, Basia Trzetrzelewska was the hottest thing on adult contemporary radio, thanks largely to the rise of VH1 in that period. What a lot of people in the US audience DON'T know is that Basia was previous vocalist for a popular UK jazz band called Matt Bianco. She left that group not acrimoniously, but to pursue the very solo career that would define her internationally.
This song, a top 5 AC hit in the US, was also a huge rallying song as apartheid was ending in South Africa. Basia's style has been described as a mix between samba, bossa nova, and jazz, and you can hear that shine through here. She has a three-octave range that is tested in this vocal exercise.
The video above, for the worldwide audience, shows how comfortable Basia is with a band. However, US music marketing dictates that a female vocalist must be the focus of ANY music video. Also, a wind machine is required by US Code. Look it up. It's true.
So, her record label commissioned a new video for the US market.
ZZ Top bassist Dusty Hill died this week, aged 72.
We pay tribute with a feature of their breakthrough song/video from 1983, the lead single form their Eliminator album, which brought them to a new audience. Fun fact: the guitar solo is a guitar DUO, played on two different guitars with different tunings.
This song was really my introduction to ZZ Top as well. And what an introduction!!!
You don't usually affiliate hard rock music with keyboards. However, that's exactly what Lita Ford did, when she moved from hard rocking music with the Runaways to her more glam-rock solo career, and it helped the song gain crossover appeal. The song itself starts slow and builds quickly to a chaotic, energetic conclusion.
This song, a breakthrough for her in 1988, came after a management change to Sharon Osbourne Management - yes, that Sharon Osbourne. It hit #12 on the US charts and kicked off a period of generally strong success. Lyrically, the song is somewhat sexually charged - she's singing about getting laid - or not - which wasn't a typical subject women tackled in 1988.
It was Ford's boldness that made her something of a feminist icon - and probably contributed to this song being featured in the movie Captain Marvel.
Ford did take a long hiatus from the mid-90s until about 2010, but she is back and still performs this song.....
The first single from 1985's Hounds of Love, this was Kate Bush's most successful single in the 1980's - and her first of the decade in the States. But why is she making a deal with God and running up hills??!
Well, the original title of the song was "A Deal With God", which her record label balked at, because, well, that title doesn't get airplay in some countries (probably including the United States). Her point was, men and women don't always understand each other, so making a deal with God to swap places.... well, that might help.
The video is interpretive dance. That's not something you see every day.
The original song is very synth-heavy, which, well, 1980s. When she finally performed the song live, Kate Bush appeared with David Gilmour of Pink Floyd, a frequent collaborator - and the synth was replaced with guitar.... and it still worked. You'd never think a keyboard solo would work on guitar, and it does, seamlessly.
In 2012, Kate Bush released a new mix of the song, in conjunction with the Olympic Games in London. This version, which debuted at the opening ceremony, was also a chart hit for Bush. (EDITOR'S NOTE: but the IOC won't let us share it, so here's audio)
(editor's note: 4 August 2023): When I wrote this post in 2021, I didn't know the song would become a bigger hit than ever in 2022, with its inclusion on the TV show Stranger Things. The top 30 hit from 1985 became a top 5 hit in 2022.
For about 20 minutes in the 1990s, Fred Durst was everywhere. This song, released in 1999, vaulted hs band, Limp Bizkit, into superstardom (they were already moderately known), and was a big rock radio hit with some pop radio crossover.
This is despite some of the most abysmal reviews in history.
The song was a bitter breakup song, dealing with a rough relationship that Durst had with a recent ex.
If you were were not aware, also in 1999, Limp Bizkit played Woodstock 1999, where a riot broke out during and after their performance. This was not the song that incited that riot, but Fred Durst and the rest of the band were wanted for and in fact arrested for inciting that riot with their words and actions, when he told people to keep breaking stuff.
But this performance does show their energy. Also, no one was breaking stuff at this point.
You'd think that Cypress Hill would have risen to prominence on something having to do with weed.
You would be wrong. This song was their first hit, their debut single, and featured homages to many popular hip hop and punk artists of the day, with Q-Tip and Ice Cube making cameos in the video. See if you can hear the Suicidal Tendencies reference near the end of the song.
I mentioned homage. This was the height of the popularity of so called "gangsta rap" groups such as NWA - and I really hate typing that name out, because it generalizes and minimizes such a broad category of music. The violence referenced here by three very high guys is absolutely homage, and having these guest stars in the video drives that home.
At any rate, it's an enjoyable tune, and I hope you give it a listen.
Remember when Tiffany and Debbie Gibson were two artists you had to choose between? They never bought into that, so neither did I. Besides, they did different things. Tiffany is best known for, well, a cover. Clearly, I have zero issue with that - and if you have not seen Totally Covered, you need to.
But this was different. Whereas you'd expect a young pop artist to be singing songs written by others, especially in the mid-1980's, that's not what Debbie Gibson did. She WROTE this song in 1984 - when she was 14 - and recorded it in 1986.
The video was recorded in Asbury Park, near where she lived. The song was a top 5 hit in September 1987.
In 1998, Deborah Gibson re-released the song, with a different remix, after she left Atlantic Records. The new version is 1) more mature, and 2) notice the name change.
The breakout music hit of 1987 was "Luka" by Suzanne Vega. A singer/songwriter from Greenwich Village, the song was from her second album, Solitude Standing. Some albums, you remember where you were when you bought them. I bought this one at Record Town at the McKinley Mall in suburban Buffalo. It is the last cassette I ever bought in a cardboard longbox. And, it was a revelation.
This song is written and performed from the point of view of an abused child. This isn't something that was common in 1987, let alone for a hit song - #3 on the pop charts, and her 2nd biggest worldwide hit. Give it a listen.
You didn't know Agnetha from ABBA had a solo career, did you?
I say "had". She's still releasing music. In fact, she reached her high water mark in 2013, with her album A. This song is not from that album, but rather from her 1983 English language debut solo album (she had Swedish language albums prior to ABBA, beginning in the late 1960's, and did have some major hits in her home country), Wrap Your Arms Around Me. It is Agnetha's biggest US solo hit to date, reaching #29 in 1983.
The song is a pretty typical 1980's pop/rock song, penned by Russ Ballard.
You all remember Eddie Murphy from all his movies, or maybe from Saturday Night Live.
Did you remember that he make music, too?! His biggest hit was this single, written and produced by the late great Rick James and recorded in James's Buffalo NY studio. My biggest surprise in researching this post was that Rick James had a Buffalo, NY studio.
The lore of the song is more interesting, though. The story goes, it was the result of a $100,000 bet between Murphy and Richard Pryor, over whether or not he had musical talent. No word on whether or not the bet was paid out, but the song reached #2 on the Billboard charts.
So, let's get the things I know I'm going to hear out of the way.
"Why are you posting THIS SONG on a Friday!?" Because it's a great song any day of the week. I won't fit inside your box.
"Wait, didn't Apollonia 6 record this first?" Well, yes, they did, with Prince - the songwriter - but he pulled the song from their album - that version would not be released until 2019. So, this was the first released version of the song. And it's amazing - showcasing the harmonies of which the Bangles are capable, as well as giving Susanna Hoffs a chance to shine on lead vocal, as opposed to Debbi Peterson.
"But wait. Their VERY NEXT SINGLE 'If She Knew What She Wants' was essentially the same situation, except Jules Shear wrote that, and that was on Totally Covered, so why not put this there?" Jules Shear released his version a year before the Bangles did. Come on, now. We do our research.
"But wait. Their IMMEDIATE PRIOR SINGLE was 'Going Down To Liverpool' by Katrina and the Waves. I read Totally Covered. I know the score." Again, Katrina and the Waves recorded and released that song years before - and RERELEASED it after this as the B side to "Walking on Sunshine".
"You've called songs covers for a lot less. Did you think we'd forget the whole 'One of Us' debate?" Yes. You may remember the agony over that decision.
Great. Now I'm out of time. Let's just get to the song.
"But wait. Don't you traditionally include a live version of these songs?" Well, yeah. We do like to do that. Here's one from 1986.
As many of you know, Amy Grant is a Christian music superstar. Her first seven studio albums, plus the compilation The Collection, which was something of a crossover breakthrough, were quite overtly Christian in themes, with some of her songs taking lyrics right from the Bible. And they were hits - many of them went gold or platinum, despite primarily being sold in Christian bookstores.
Her eight studio album, Lead Me On, was the one that really started the wiggle to secular music, but it was still pretty Christian.
On March 5, 1991, Amy Grant's ninth studio album, Heart In Motion, was released. It was a very strong secular turn - but still did well on Christian charts. This song remains her biggest hit to date -it's a standard, cheerful pop song that will make you smile.
By now, you probably think you see a pattern. However, despite what you might think, Cibo Matto was an AMERICAN band.... formed by Japanese expatriates. They tended to be avant garde in their musical style, mostly singing about food.
This song is from their debut album, Viva! La Woman. It's about knowing your chicken.
This version of the song was recorded live in 1996. This iteration of the band featured Sean Lennon - son of John and Yoko - on bass. It's glorious.
Yesterday, I talked about BABYMETAL. There would be no BABYMETAL without Shonen Knife, the three Japanese housewives who decided to form a Beach Boys/Ramones influenced band in the early 1980's. Their songs tended to address pretty mundane subjects, like how much fun cycling is and riding on rockets.
They still rock today. From their 2014 album Overdrive, this song does a pretty good job of explaining itself. For a song about spending your days like a cat, it has a Ramones-esque feel.
Yes, a Japanese version of this musical cat video exists. They are, after all, Japanese. It also does an excellent job of explaining itself.
Here is the band performing the song live in 2014. I can tell you they are still going strong.
Like most of you, my initial reaction when hearing BABYMETAL was "What the hell did I just watch?"
The group is really the women singing and dancing in front. The backing band is session musicians - consistent, known ones, but they aren't the focus. The focus is the women that you are expecting to sing light pop music, and who instead blow your expectations out of the water.
The music is metal. It's metal that's a throwback to early 1990's bands that rocked this hard. They got their start in 2010 as a subunit of the Japanese idol group Sakura Gakuin,, but broke away and became so so much bigger than that.
The concept was originally a traditional idol fusion with metal music - but it has evolved into something of a reverent metal tribute. This song, which was something of a worldwide breakthrough for them in 2015, deals with a woman's desire to... well, eat chocolate, along with the pressures of maintaining one's figure. I'm not kidding. Enjoy.
You see, today is the day that the Marvel Cinematic Universe returns from its forced pandemic hiatus, with the movie Black Widow. The title character is, of course, played by actress Scarlett Johansson, and it is a movie everyone wanted for YEARS.
What you didn't know you wanted was to hear her musical collaboration with Pete Yorn. Recorded in 2006, the album was not released until 2009 - the year before Iron Man 2 was released. Their collaboration was seriously good - and as much as I am making more Black Widow jokes than Captain Marvel jokes that I made yesterday, Scarlett Johansson is an excellent, nuanced vocalist.
Their album didn't do great in the States, but was certified gold in France. Here they are performing the song for French television in 2009.
In 2010, the movie Scott Pilgrim vs. The World was released. With it came a pretty epic soundtrack. At the center of the film was a song called was "Black Sheep", by Toronto band Metric. This wasn't a new song of theirs - they had performed it live for years. The song, belted by Metric lead vocalist Emily Haines, was included on the soundtrack.
Here is the original version from the soundtrack. It's a great song in its own right.
This live performance of what is possibly their best known song from 2015 is absolutely amazing. Right?
If you have seen the movie, you know where this post is about to go.
You see, Emily Haines didn't sing the song in the movie. The song in the movie was performed by fictional band Clash at Demonhead - who were admittedly based on Metric - fronted by Envy Adams, who was played by real-life actress who can sing and future Captain Marvel, Brie Larson.
In 2010, Metric insisted that the original version, with Haines on vocal, be included on the soundtrack. As they should. It's their song. However, this made a lot of fans of the movie - and the Brie Larson vocal - very unhappy.
Fast forward to December 24, 2020. After much fan encouragement, Brie Larson released this video on her YouTube channel... I won't make you sit through the first 6 1/2 minutes....
Also, yes, those are sheep on her sweater..
Finally, in June 2021, Metric released the song as a single, accompanying an extended version of the film's soundtrack. There was much rejoicing and something of a resurgence in interest in the movie.... and it's still on the US Rock charts as I write this.
And no guitars. Some synth. But mostly percussion.
Just like every other Big Pig song.
In 1988, this song became the band's biggest hit worldwide, reaching the Billboard Hot 100 for the first time and doing significantly better elsewhere in the world.
A lot of people like to request Smashing Pumpkins as posts on this blog.
What they don't know is that I was a fan from the very beginning. This song, one of the few the band still performs live from their debut album, Gish, was their second single - although the "single" was really the EP Lull. It remains to this day one of my favorite songs. It starts slow and quiet and builds to a frenzied wall of noise.
By the way, D'arcy isn't really throwing the ball backwards, people. It was filmed in slow motion and run backwards.
I did not choose a modern performance of the song for the live showcase. I *did* choose one from 1991, which highlights just how important D'Arcy's bass was to the band's sound. The song is more subdued than the original for a longer time, but eventually builds to the noise.
The most infamous song of 2020 is finally here on Wicked Guilty Pleasures.
The song itself was a huge hit worldwide, both commercially and critically, but let's look at it a little closer.
It is a collaboration between two women who rap, a field largely dominated by men. It is, in fact, arguably the biggest hit by two collaborating rap artists.
It is a very explicit song, almost to the point of absurdity. And, it is unapologetically so - neither of these women care if you're offended.
And the song is a true collaboration. As much as their music demands a bit of bravado, neither upstages the other.
Plus, the use of tigers in the video sparked a feud with Carole Baskin.... so, there's that.
I have to admit something.
I wasn't a huge fan of this song until I heard this mashup with "We Appreciate Power" by Grimes. Completely different song. Brilliant choice both titular (look at what that title spells) and musically.
Couldn't have pushed that up a little for me, Ella?
Well, people are already talking about it being the Song of the Summer. While it's still a bit early for that, the song is really cool and mellow. While it does bear a resemblance to the Primal Scream song "Loaded" (which yeah, we posted earlier this week), Primal Scream is surprisingly OK with it.
We may never do this again. It's a rare album that is worthy of such a focus and such praise. This is that rare album.
And, on this Canada Day, I chose an album that thoroughly celebrates a part of Canada.
At the beginning of June, I mentioned in a blog post an all-piano album that I could not stop listening to. I still can't. I first heard the album on its day of release, thanks to Spotify, and in fact listened to it more than once that day. I was on vacation and sitting in a hotel room, and... it hit me just right.
This is a woman who, because of surgery, could (temporarily) not talk, let alone sing, and yet she found a way to compose, perform and release these deeply personal songs about places in Quebec that mean so much to her. It's truly magic.
If you are not able to hear the album using the Spotify link, here it is on YouTube. It is a playlist that starts from the first track:
Before she was all "Fancy", Iggy Azalea was establishing herself as pretty hard-edged. We have featured Iggy Azalea on this blog several times - before AND after "Fancy".
This song, her first collaboration with T.I., is one that we've missed, mostly because we never found a great spot to slot her in that flowed with the feeling we were going with - either in genre, or theme. I've had this song sitting in my drafts for a couple of years.
The song appears on her 2012 EP Glory and would serve as her debut single (although "Beat Down" came a few months earlier, that was Steve Aoki and Angger Dimas's single, not hers). For those not familiar with Steve Aoki, seeing a long-haired blonde Australian girl coming with an in-your-face style of hip hop was a bit of a shock.... but in a good way.
Here she is performing the song live in 2013. It is one of the first times she had ever performed live, and she absolutely brought the house DOWN.
This song sounds really cool, right? I mean, the guitar rift is one of the greatest from the mid-1990s. Richard Patrick's delivery of his song is spot on.
So, listen to the song first with no preconceptions about what the song is about. Just enjoy the song.
In January 1987, Robert Budd Dwyer, Pennsylvania State Treasurer, was convicted of bribery and was due to be sentenced for up to 55 years in prison. The day before his sentencing, he held a press conference, maintaining his evidence. At some point during the conference, he pulled out a revolver and took his own life, without injuring anyone else.
So, that's the "Nice Shot" Filter is referring to. This song is about that incident. There were rumors it was about Kurt Cobain. Those are not true - the song was written in 1991.
So, now listen to it again, with that in mind. But here's a live version for you.
I won't be posting video of the incident. If you want to see that sad, tragic spectacle, you can look for it yourself.
I wanted to make sure I posted a band that Ella Marija Lani Yelich-O'Connor has obviously never heard of.
In all seriousness, this song, an acid house classic, was a top 20 UK hit for Primal Scream in 1990 and is widely regarded as one of the greatest dance songs of all time.
I agree with that assessment - I played it on college radio the ONE NIGHT they let me do the dance show. I don't think this was a contributing factor to me not doing that again (I made some questionable choices) but I thought it was great and I was certainly dancing to it in the studio, quite similarly to how I am dancing to it right now, as I write this.
The song samples lines from the movie The Wild Angels.
Benny Andersson and Bjƶrn Ulvaeus were looking to become better known songwriters. Sure, they were known in Sweden, but not much outside. So, how does a European group get attention for their songwriting?
Easy. Enter the Eurovision Song Contest.
Which this song won in 1974, as Sweden's entry. And, it won handily.
This single was the first credited to the group as ABBA, is is likely the only song ever to compare a relationship to a Napoleonic battle. Usually, a song like this i.e. one that wins Eurovision isn't all that popular outside of Europe, but this song was different, igniting their fame worldwide.
It is widely considered to be the greatest song to come out of a Eurovision competition.
Of course, in order to QUALIFY for Eurovision, they had to perform the song for Sweden. Which they did, at Melodifestivalen, a Swedish music festival for the purpose of picking the Eurovision competitor. You might notice this version is a little different.
By the way, lest you think I'm kidding about this Eurovision stuff, here are ABBA, watching the results come in, followed by them performing the song as winners.
This is exactly the type of post that Scott would have posted. And yet, here I am, unapologetically posting country gospel.
Look, let's get it out of the way. It's a pretty straight-forward modern country song, with pretty blatant Christian overtones. It's about a woman praying she doesn't die when she hits a patch of black ice. Moreover, it's a song that demands a broad vocal range.
This song was American Idol winner Carrie Underwood's first Country #1 hit song (she would go on to have 15, so far). It also crossed over and became a Top 5 Christian hit (a chart she would later top, twice), and a top twenty POP hit - a chart she had previously topped with her debut single. This was her 2nd single.
And yeah, it won several awards, including two Grammys.
To call this song influential and important is not hyperbole. It set the direction of Underwood's music, away from the pop idol sphere in which Simon Cowell's greatest creation usually played, and it established her as a leading cross-genre artist for a generation.
In 2012, I first posted music performed by Amanada Seyfried on Totally Covered. The songs were from a movie in which she had acted - Mamma Mia! - and inspired by another - Red Riding Hood. These covers were, in a word, amazing. Both of them. The latter is still on heavy rotation for me, and the former was so good, I posted it again, unapologetically, on this blog.
When I wrote that original post, I made a bit of a flippant comment - "A reminder that this is the same person who played the dumb blonde in Mean Girls".
Which is true. She did.
She has since been nominated for an Academy Award (for Mank), and has continued to demonstrate that she is both a talented actress and musician with great depth. Seyfried's discography is absolutely loaded with covers - many tied to her movies - but this song, from her 2010 film Dear John, is not only not a cover, SHE wrote it.
