Four years ago today, the music world lost Kim Shattuck to amyotrophic lateral sclerosis (ALS). What were we doing that day?
Nothing. We didn't publish a goddamn thing in October 2019. Partially because of Shattuck's death (seriously), I started posting on this blog more regularly. I should have done an earlier tribute to her and her greatest achievement - not her couple of months with The Pixies, not The Pandoras - The Muffs.
The Muffs were a 4- or 3-piece band - depending on time period, but at the time of the recording of this song and their 2nd album, Blonder and Blonder, a 3-piece. This recording here is not from the 1995 album, but 9 years later - but it sounds exactly the same. Seriously. Kim's voice was timeless.
I chose this song not because it was a big hit - it wasn't. I chose this song because it was bombastic, and showcased Kim's raspy growl like few Muffs songs did.
The Muffs toured until 2017, presumably stopping because of Kim's health.
She still had not lost a beat.
This is from the 2nd to last show the Muffs ever did. It sounds just as great as the first time they recorded it.
I grew up on country music. My parents were big fans. So, in the 1970s, I spent a lot of time hearing that music.
Bobbie Gentry was one artist that came up over and over. This was one of her biggest hits, reaching the top 40 on the pop charts - the second time she had done that - and the top 30 on the country charts - well, she did that a lot.
Bobbie Gentry was also a feminist. This song was about turning to prostitution to escape poverty - but also, more than that. It was about a woman gaining financial independence. The song was released in 1969, so it was a little racy for its time.
Bobbie Gentry is still around, but she disappeared from the music business in the 1980s. If you want the other half of that story, you'll want to head over to Totally Covered.
Why did a band from Georgia do a song about Idaho in 1980 - a state that they did not play in live until 2011 - and why did they take it private?
Written by the band, the song reflects the mystery that is the state of Idaho to these beatniks from Athens, Georgia. It's just that simple. They didn't understand Idaho - so beautiful! so conservative!! They kind of romanticized the state - it's not parody. It ended up being their second Hot 100 hit, and became a dance club staple as well.
Plus, Gus Van Sant was a fan of the song - so much so that he titled a movie of his My Own Private Idaho. He first heard the song while he was visiting Idaho - apparently, they like the song the B-52's wrote for them - and the movie takes place largely in Idaho....
....unlike the band, who, as I previously stated, did not visit the state until 2011.
Idahoans actually attended that 2011 show and took video.... of "Private Idaho" in Idaho, where you probably needed a ticket to see them live.... so, yeah, private.
It was the lead single from their third album, released in 1986 after an 8-year recording time, Third Stage. Guitarist Tom Scholz really built an epic album - and one that didn't use synthesizers. All over the liner notes. Tom Scholz really wouldn't shut up about that.
Written in 1980, the song existed as soon as 1981 and in a leaked demo version in 1984 - which raised the anticipation for Third Stage - which ended up being a massive hit.
The song entered the US Hot 100 on September 27th, 1986, and I swear I didn't know that date when I chose this date to publish this. In the era of MTV dominance, this song reached #1 - for two weeks - without a music video (although one is rumoured to exist).
"Amanda" isn't a real person. The name fits with the flow of the song. It's also a power ballad - which isn't something Boston really did, so they were a little embarassed by the song. Nevertheless, Brad Delp belted the hell out of this song.
Brad Delp tragically took his own life in 2007 - and the band did go on after that, but it wasn't the same. This performance from 2004 shows he still had the ability to sing such a beautiful song with the proper level of emotion.
This is the Butthole Surfers writing the type of song - complete with slowed-down guitar riffs, spoken-work verses, and backmasked endings a la "Loser".
It ended up being the biggest thing this very fringe band ever did - reaching the top 40 and getting POP RADIO airplay in 1996.
Pop radio airplay. Wow, I cannot imagine those pop DJs having to say "Butthole Surfers" every day.
Worse, Capitol Records expected them to follow their success - which, of course, they could not, so they got dropped. Which, artistically, was a good thing. Although on a 7-year hiatus, the band, which formed in 1976 and had their biggest hit in 1996, is still together and not broken up.
A song like this is not exactly built for a live performance - but they did it. They sure did it.
On French TV. And other places, too, but this was my favorite.
"(The) EP (that was released overseas prior to the band's US debut), by the way, was called "Slow Dust", based on two of the songs on there - "Dusted" and "Slow Dog". Belly later released a remixed version of the latter song in this country, and they even made a fun video for it. Check out Tanya's jangly guitar work. And lyrically, the song loaded with enough metaphor to make Kristin Hersh proud." - Literally me, 7 November 2012
C'mon. That was a "Feed The Tree" post, though.
Plus, I was less than a year into this thing, and I didn't know I would still be writing this a decade later.
So, let's give "Slow Dog" its due. Written by Tanya Donelly, she's also your vocalist here. The lyrics are loosely based on a Chinese folk story about an adulteress who has a decomposing dog tied to her for punishment.
But it wasn't meant to be a Belly song. None of the songs on Star, Belly's debut album, were meant to be Belly songs. Belly never should have been.
No, this was originally demoed as a song from the Breeder's second album. This demo didn't feature Kim Deal, but some of the Star demos did. These weren't intended for a post-Throwing Muses band. The timing didn't work out on that album, so The Breeders did Safari with Tanya and moved on, and then Tanya did this with Belly.
This wasn't a song that Tanya had recently written, so the name in the chorus was "Mariah" in this version. Well, the label loved the song about Mariah Carey - who wasn't a thing when the song was written but sure was when the demo was recorded - so "Mariah" became "Maria".
The Slow Dust version of the song is a little different than the one that was released in the US on Star. It's a little more lo-fi - maybe a little more Muses-y.
I do prefer this version, but only because I heard it first.
Belly has not been consistently together since the 1990s - Tanya has been working on other stuff, like occasional returns to Throwing Muses and The Breeders, a lot of solo stuff, and being a doula - but in 2016, they were, and they were spectacular.
This performance is from Newport, RI - where Tanya grew up.
In 2013, she released her first album, Night Time, My Time, which was excellent. This was the second single off the album, which is about Sky's public image - and her taking control and ownership of that (even though this wasn't a single chosen by her to follow "You're Not The One").
It's a great pop song.
So she recorded a second album, Masochism, which she finished in 2015.
Depending on who you talk to, Capitol Records or Sky Ferreira are holding up the release of this album, which was due in 2015, 2018, and then 2022.
It's been so delayed that, in August, fans bought a billboard in Times Square to ask for her freedom from Capitol Records.
Written by Kerry Livgren and Steve Walsh, this song was featured on the band's fifth album, the huge hit Point of Know Return. It is the single that had the job of following the band's huge hit, "Dust in the Wind".
What better way to follow that song with Biblical references than with a song about Albert Einstein?
The song is absolutely huge, starting off with a vaguely orchestral opener, with straight-ahead rock and violin in the main part - and a frenzy of hard rock in the third act. It did end up getting radio airplay, and I just heard it in the grocery store the other day, so you know it had impact.
This version is from the band's 1978 live double album Two For The Show and is, in my humble opinion, the definitive version.
Famously, Steve Walsh left Kansas in 1981 due to creative differences, and was replaced by John Elefante - an excellent vocalist in his own right who did Walsh proud with his version of this classic song.
Walsh returned to the band in 1985, and the band went through various lineup changes. This was a verison in 1992 that included a lot of the original band, but lacked Livgren - who had been in and out for a while.
Walsh didn't quite have as huge a voice as he once did, but he didn't do badly.
When I saw Kansas in 2012, Steve Walsh had lost his voice completely and could not hit these notes. So, he adapted.
He would retire soon after.
In 2014, Ronnie Platt would take over as Kansas vocalist and remains so to this day - and yes, they are releasing new music, still.
In 2018, the band toured in celebration of the 40th anniversary of Point of Know Return by performing the album in its entirety. And it was really good.
I rarely start by talking about the video, but I'm going to here.
You see, this video is directed by Richard Kern, who is best known for cutting-edge erotic stuff like Submit To Me and Fingered, the latter of which features Lydia Lunch in a portrayal of being sexually assaulted by a revolver.
He's known to be showy.
So, this video, which fits right into his style, is a natural choice for him.
The song, which is a heavy guitar riff and organ over John S. Hall's trademark deadpan delivery, ended up being the band's biggest hit - and a song that was hard for them to follow up. I mean, it's objectively hilarious. How do you follow that?
It did make their 1992 album Happy Hour a commercial success. It, however, did lead to the end of King Missile's second incarnation.
Most people who watched MTV only saw the censored version of the video, which is above. The uncensored version features a dildo, and not a particularly realistic one. Still, it beats a black bar.
There have been various incarnations of King Missile over the years, but in 2015, this lineup reunited and performed a show at Shea Stadium.
Yes. That Shea Staduim.
I mean, not on the field. Clearly under the bleachers. But still.
This song might just be the best thing from that great album.
I have to be honest.
I was going to post St. Vincent today. I wasn't going to post this song. Then I found this performance, which was St. Vincent performing this song at the 2019 Grammys leading right into being joined by Dua Lipa for her song "One Kiss" and weaving the two songs together. Annie's very simple performance of the song is, in my opinion, better than the original - and yes, Dua Lipa's backing vocals help.
I mentioned Masseduction was nominated for a Grammy. So was "Masseduction" - Best Rock Song - and it won that Grammy.
Dua Lipa also won - for Best New Artist - that same night. That's not a coincidence.
Annie Clark does not, however, need Dua Lipa to be a rock goddess. We offer this performance from the 2018 Austin City Limits Festival as evidence to that fact.
A lot of you were expecting an Elton John song last week.
Not this one, of course.
With lyrics by Bernie Taupin, and music by John and Davey Johnson, the song has a 50s feel, but the lyrics.... wow. They are emotional and evocative. The video tells a story of a couple separated and then reunited.
It's a beautiful song, and it went to #4 on the US charts in 1983, with similar performance elsewhere in the world.
There really isn't a lot to say about this song. It's just a good song.
Except there's a lot more to say. Mary J. Blige re-recorded the song with Elton John, and versions done by both of them have appeared on BOTH of their albums - this one from a 2000 live album by Elton John (it also appeared on a 2006 album by Blige).
Mary J. isn't the only partner John has sung this song with.
Elton John has famously toured with Billy Joel a couple of times, and in 1998, this song was done by them, together, on TWO pianos.
In 1983, I was 11.
I didn't appreciate a slow-paced emotional love song in 1983.
In 2023, I appreciate that Elton John has stuck with music long enough for me to appreciate and even like the song. He's on what seems like his 94th farewell tour now, and this is him performing the song in 2022. Yes, his voice has lost a little. Yes, the song still hits.
This song was the third single from the soundtrack album for the movie, and brace yourself for this title, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn).
I cannot endorse the movie, but this song, which is clearly tied to the titular Harley Quinn, is incredible. It's an anti-hero anthem, it uses COWBELL, and you will be singing the chorus to yourself all day long.
Also, "boss bitch" is a term of endearment. Isn't language fun?
It's like racquetball for your mouth!
The song was a Billboard Hot 100 hit, peaking at number 100. So, barely. But it's still a banger, so here it is.
Doja Cat rarely performs this song live, but when she does, it's spectacular.
Did you expect us to end this clearly themed week on this song?
We do not roll like that.
This song was Meredith Brooks's debut SOLO single (she previously had a hit with the band The Graces) and her biggest hit by far, becoming a worldwide sensation and a #2 song on the US pop charts. She was 38 when the song was released - which, in a youth-centered industry like the music industry, is incredible.
The song's single word title is frequently used as an insult, but Brooks, who co-wrote the song, was looking to reclaim the word as a term of endearment. She certainly did not feel ashamed to release this as her debut single, although Capitol Records was hesitant, as, well, "bitch" is a naughty word. She was right and they were wrong - and they did eventually relent.
The video, by the way, is super-flowery.
"Bitch" was released in a time when Lilith Fair was a thing. That probably helped the song's popularity, and definitely gave her a place to be to promote the song on tour.
The 1997 crowd loved it, by the way.
I appreciate an artist that doesn't make a crowd wait. In this 2022 performance - when she's 64 and still freaking rocks - she performed the hell out of this song as the OPENING of her set. By the way, stick around and watch the whole video - because she's got more than one song.
Megan Thee Stallion is an artist who is pretty tough. Her lyrics are empowering and sometimes angry. This song, when she takes ownership of the word "bitch" and uses it in response to a not-so-great suitor. The song is very much inspired by 2Pac's "Rather Be Ya Nigga", which she heavily samples.
This song also predates the time that she was shot by Tory Lanez. Yes, that is a thing that happened.
I have to tell you, it took me a while to get Megan Thee Stallion - I didn't like her much at first - but I'm on board now. The more music she makes, the better she gets - and she's only 28. She's got a lot of years go great music ahead of her. We are here for it.
Anyway, back to the song. It was a top 40 hit, even with the coarse language.
I know. It's a sacred day for a lot of people. Some people are going to think it is wholly inappropriate for us to start this week like this.
I promise you there's a tie-in to what happened on this date in 2001.
This single was released in 2002, the fourth single from Ludacris's 2001 album, Word of Mouf. The crass title - a reference to a common pejorative that either refers to a loud mouth woman or, more likely, just someone who was pissing Ludacris off that day - was frequently changed to "Move" to get it some radio airplay.
Which it got. The song was Ludacris's first Top 10 hit.
Now, the song is at least potentially misogynistic, and is absolutely violent. You can't sugarcoat that.
In 2004, the song was adopted by Democrats, with the titular pejorative changed to "Bush" - which made it the perfect song for people who were opposed to the Patriot Act and other slights to our liberties, as well as our involvement in Iraq and Afghanistan regime change wards, that happened in the wake of the September 11th attacks.
Move, Bush, get out the way.
In 2017, with Ludacris's support, the lyrics were changed AGAIN to target someone different.
The song, steeped in violence, became a non-violent way to protest a president who declined to denounce the racists in Charlottesville, VA. and fostered division in our courtry.
In 1986, TV journalist Dan Rather was assaulted by 2 men in New York City - and these assailants kept repeating the phrase, "Kenneth, What's the frequency?"
This phrase translated into a 1994 single, the first from R.E.M.'s 9th album, Monster. According to lead singer Michael Stipe, the lyrics are from the point of view an old guy who knows everything about Generation X based solely on what he's reading in the media, which, of course, is utter and complete bullshit.
The song is a cautionary tale, people.
It's also a complex song, with a lot of fuzzy guitar... but you might notice the pace slows down at the end, almost as if they are running out of breath. Well, that's partly true - as they were recording the song, bassist Mike Mills slowed down his pace... and the rest of the band followed along. Well, it turns out that Mike Mills had appendicitis and was in a lot of freaking pain. Rather than rerecord the song at full speed, the band chose to rush him to the hospital.
See if you can find the point where Mike's appendix started to burst.
Normally, I try to sprinkle in a live performance, but in this case, they all sound like the studio. R.E.M. is funny that way.
I figured you'd like to see what it looks like when Dan Rather tries to sing with the band. Seriously. This is Dan Rather, singing with R.E.M. He would go on to tour with R.E.M. keep his day job.
This infectious song was #11 pop hit in the US in 1993, and again was a hit in 2008. Written by a couple of producers, they drafted a guy named Nestor to sing the song.
Nestor Haddaway. His name was Nestor Haddaway.
It would be Haddaway's only significant hit, but if you;'re only going to have one hit, this is the one to have. Of German and Trinidadian descent, Haddaway created a hell of a Europop club classic that endures to this day.
You knew we had to get there, right?
That's right. Haddaway performing his hit live in 2022. And the crowd loves it!
No, no, you wanted Chris Kattan and Will Ferrell, didn't you?
Indeed, the two of them created a popular Saturday Night Live sketch about a couple of idiot club rats from Boston who had their own head-bobbing dance style when it came to this song.
They turned their characters into a terrible 1998 movie, A Night at the Roxbury, that ended up making about $30 million at the box office. It also brought this song back into prominence again, as it featured on their briskly-selling soundtrack.
So, here you go. A compilation of Chris Kattan and Wll Ferrell dancing like morons.
Then, on Sunday, news broke that Steve Harwell was in hospice care and near death. I didn't read that news until Monday morning, and that news was quickly followed by news of Harwell's passing.
So, that changed some plans for the week.
I saw Smash Mouth live several years ago, with Steve Harwell on vocals. This song was, of course, a highlight of that show - it being their first single and a pretty big hit. From San Jose, California, this song was written by guitarist Greg Camp and heavily influenced by the then-recent Rodney King verdict in Los Angeles - I have to imagine that hit differently in California, even in San Jose, which isn't all that close to LA.
Of course, record labels will push songs with a little social consciousness with an organ accompanyment as a party song. Even though it wasn't - the lyrics are a little darker than the music lets on - Steve Harwell sold it and made it a top-tapping classic. His live performance of the song was always a highlight, and it was a highlight on this 1997 Tonight Show clip.
Willow was billed as Willow, but her name is Willow Smith, She is the daughter of Jada Pinkett Smith and Will Smith. This single was released in October 2010. She was born on Halloween, in the year 2000.
So, do the math. She recorded and released this single when she was 9.
Nine.
Nine.
I was still playing with my Hot Wheels at age 9.
Willow Smith was recording a top 20 song.
And not just any song. "Whip My Hair" was her debut single, and it not only was a hit, the song is absolutely a bop. It was a club hit. It was a kid's radio hit. It was everywhere. The song was, and is, iconic.
And she did this at 9.
In this live performance five years later, I think it is clearer than in the original video just how talented a hip-hop artist Willow Smith is. She's got stage presence, and a command of the microphone.
As of 2022, she wasn't really playing the song live with her band anymore - she's gone in a more rock direction - but does do it acapella on request at her shows, like this one at the iHeart Radio festival.
One thing Willow always wanted to do was shave her hair during a performance of this song, and, with her full band playing, she did just that.
Also, this version really really rocks. Willow is a hell of a frontwoman and should still have a long career ahead of her.
Deadboy & the Elephantmen were a band from Louisiana until 2007, when they broke up. And then, no one really thought about them.
Until 2015. On The CW. Tuesday, March 17th, 2015, at 9PM ET - or, really, probably about three minutes after that. That's when this happened.
That, you see, was the night of the debut of a new series on The CW called iZombie. It lasted five seasons and it's on Netflix - and it's better than the title makes it sound. Highly recommended.
Immediately, this became the best known song by Deadboy & the Elephantmen.
It's not quite a zombie song, but it works as such. The song is very simply constructed - just guitar and drums. The band was, at this point in 2005 when the song was released, a 2-piece.
It's worth noting that Henry Rollins was a fan of Deadboy & the Elephantmen, so he used his radio and TV platforms to promote the band. You can see the 2-piece at work on Rollins's IFC show.
Summer is almost over, and we're finally getting to this song.
We've been largely avoiding the hits on top of the pop chart this summer, mostly because it's been strange and partly because some of it has been terrible. But, now that we're at the end of the summer, we feel like we should address it.
How is a four year old song that had a run on the pop charts and was a top 30 hit in 2019 suddenly a top 5 hit in 2023?!
If you weren't aware, Taylor Swift is on tour. I know. She's kept it pretty low-key. But yes. And this song from 2019's Lover album, not released as a single but still a minor hit in 2019, was featured prominently on her tour this year. It makes sense - in a summer dominated by country music, a song that bridges her origins in country (the 2nd half of this song is clearly country-music influenced) and her current pop focus (this song is incredibly synth-heavy) fits in well.
Co-written by Taylor Swift, Jack Antonoff, and Annie Clark (who is St. Vincent and we hear clear shadows of "Los Ageless", which was also written by Jack Antonoff and Annie Clark, by the way), the song is not a Bananarama song, but rather a song about a summer romance and the associated pain.
The song became so popular as part of the tour that Republic Records rereleased it as a single and it took off, peaking at number 3 on the pop charts.
Those who read this blog know that I'm not a huge Taylor Swift fan and I did not attend this tour. This song, however, is fantastic.
Her current tour has a remarkable similar setlist every single night. Every show opens with a couple of songs from the Lover album, and this song is the 2nd song in almost every show.
Shockingly, people have recorded this song live on the tour. This is from her stop in Santa Clara, California. (edit: Taylor's people like to take down videos by her fans, so here is the performance in the Eras Tour movie. It's literally the same performance at a different show, this one in LA)
Why yes, that is a Rick James sample that dominates this song. In fact, Rick James and Alonzo Miller - the original writers of "Super Freak" - are listed as co-writers of the song.
But let's be clear. This song was written and produced by MC Hammer.
How big a hit was it? Well, in the short term, it was a big, but not mega-big, hit. It was the THIRD single from MC Hammer's 3rd album, 1990's Please Hammer Don't Hurt 'Em. This song, however, got airplay long before it was released as a single, and that drove album sales - to the point where it was the longtime best selling rap album of all time (it has since fallen to 5th on that list).
The single itself was a top 10 hit on the pop charts - never making it to the top spot, though. It was also a number 1 R&B hit, and a hit worldwide. Moreover, it brought rap to a much broader audience, including many in my group of friends at the time.
You know the song. Now, it's Hammer time.
One thing about MC Hammer... you probably know him for what he recorded. His live performances were full of energy. He was one of the most dynamic performers of his generation - which made him an excellent bridge from the old school sound that dominated the 1980s to the more in-your-face rap style of the 1990s.
Did I say "were"? MC Hammer famously lost all his money from "U Can't Touch This" pretty quickly, which means he didn't get to just retire (although all indications seem to be that he recovered from that). Twenty years after the song came out, he was still touring and still putting on a hell of a show.
Here he is in 2018, STILL performing this song. Yes, he's got other people doing his dancing, but he's still putting on a hell of a show.
Anyway, this is a different, not so loud song. It's not quiet, mind you - but it's less in-your-face angry and more synth-pop-rock angry. It's about Trent Reznor's job - as a musician, with real business pressures - and how that clashes with his desires - as a musical artist, and keeping his integrity.
In 2005, this was the first single off of Nine Inch Nails's fourth album, With Teeth. That's sixteen years after their - his? - debut, and six years since the previous album. The video is almost completely CGI - no, Trent Reznor did not stick his face into a pinscreen repeatedly - and the only non-CGI pieces are the hand belonging to David Fincher, who directed the video, and the fuzzy cars you occasionally see in the background.
As should be no shock, this has become a live performance favorite, and it hits so much louder and harder live.
So, this is a weird song in how it's constructed. Let's breat it down.
Paul McCartney took the first stab at it, writing the lyrics - probably about a relationship he was having with British actress Jane Asher at the time. She been happily married for forty years, so don't ask her. He then took it to John Lennon, with whom he came up with the middle part ("Life is very short...")
But you might notice a tempo change in the middle. That's more than a tempo change. That's a change to 3/4 time - and that was the brainchild of the uncredited George Harrison. It, by design, sounds like a waltz, in contrast to the pop-rock sound of the rest of the song.
The song also goes from optimism in the verse and chorus to a slightly less optimistic and more philosophical tone in the middle. It's quite interesting to listen to the song go thematically and muscally back and forth. Paul took the lead vocal roles, with John joining with harmonies in the middle.
"We Can Work It Out" was release in December 1965 as a double A-side single - along with "Day Tripper" - and quickly became a #1 hit, It's worth noting that Stevie Wonder also had a hit with the song in the early 1970s with the song.
I wrote about Charly Bliss a couple of years ago, and then, I promised to revisit them. I didn't think it would take me this long - but I got really sick of their earlier stuff, which was very much like Weezer.
This 2019 single by Charly Bliss is possibly their best known song. Written by the band, the song is sung by lead vocalist Eva Hendricks, and not E.G. Daily. The lead single from their 2nd album, Young Enough, it's a lot poppier than their earlier work.
It's an interesting song, about the power of saying no, because, well, you're at capacity.
If you're familiar with their earlier work, you know that Eva Hendricks plays guitar on top of her vocals. As you can see - and pointing to their move from rock to pop - she has moved to keyboard during live performances. Also, I wish my dining room was this cool.
"Echosmith Is Back, and Wants Us to Put Our Phones Down."
That's what the Billboard headline read.
Of course, ignore the lyrics and this sounds like a chipper pop ditty. You could be forgiven for hearing this as some bright pop song, like "Cool Kids". Lyrically, though - it's not chipper at all. It's dark and sad, and really does encourage real connection.
The kicker here is that this song was written and released by Echosmith in 2019.... before the pandemic. That made the lonely generation even lonlier - and makes this song more poignant.
By the way, I'm not sure if I've said it before, but Echosmith is a sibling band - originally 4, but now 3. How they fit all that musical talent in one family is a marvel.
Big Data is Alan Wilkis, a producer. His music project is an electronic one. This song is billed to him and billed as featuring Joywave.
Wilkis co-wrote the song, but so did Daniel Armbruster, who used to be the other half of Big Data and was, at the time, the vocalist for a Rochester, NY band called Joywave, and its his voice and the band's music you hear in this version. The song is super bass-heavy, which is cool as heck.
You knew I had to drop Rochester in there. I lived there for 26 years, after all.
It's kind of blurry who this should be billed to. What isn't blurry is that this collaboration is both the biggest hit Big Data ever had, but also the biggest hit Joywave ever had.
The video is violent and depicts the marketing of an athletic shoe that incites violence.
The lyrics video took a different approach - showing the dangers of, well, big data. An accompanying app - which seems to not work anymore - would make a video out of your Facebook timeline. Seriously.
What also is not blurry is that Joywave doesn't perform with Big Data. They are separate bands, with separate members. The male vocalist (who's doing a lot of the electronic work as well) is Alan Wilkis. Not gonna lie, I like this version, too.
(Update: 4 October 2023) Joywave actually didn't play this song live until 2021. They chose their hometown of Rochester, NY to pull it out for the first time. They also pulled out not one, not two, but THREE bass guitars to make sure you could hear that sound from space.
It took ten albums for Siouxsie & the Banshees to find commercial success in the United States, but they did it in 1991 - with this single. Yes, it was a more mainstream pop move - some called it a sellout, but they already had a major label deal, so I don't think it was.
The song took its title from a 1957 Jayne Manfield film - and the song was very much about Mansfield. It's full of references to her, from the word "divoon" in the 2nd verse (a word Ms. Mansfield was known to use frequently) (notice that Siouxsie is in a heart-shaped swimming pool when she sang that lyric in the video, as that's one of the things the term was in reference to) to the third verse reference to the car crash that killed her (while sparing Mariska Hargitay for a future as Olivia Benson).
I am rarely surprised by my blog. I knew Siouxie & the Banshees broke up in the 90's and, that was it for them, save for a brief reunion in the early 2000's/ What I did NOT know is that Siouxie Sioux herself is back to performing, after a long hiatus (although she did have a solo career as well), and headlined the Cruel World Festival in Pasadena, CA, this year.
The performance is in a different key than the original, but her stage presence is undeniable.
Something I think you didn't know - Roxette had four number one hits in the United States - which is one more than they had in their home country, Sweden.
This song, from 1988's Look Sharp album, was their first in the US (it did not reach #1 in Sweden - the only song, in fact, to top both the US and Swedish charts by the band was "Joyride", which, despite my prior attempt at humour, was not only a minor hit - ironically both their last US #1 and their first Swedish one).
Dual vocalist/guitarists Per Gessle and Marie Fredriksson played togeher from the mid 1980s until 2019, when Fredriksson passed away from complications from a brain tumor. Gessle wrote this song as an exercise when he got a new synthesizer and was learning how to operate it. It's an oddly consructed song, with weird chord progressions that no one reading this blog is going to hear about from me.
I loved this song from first listen, and yes, I have the 12" single of the song around here somewhere.
As I stated earlier, the band performed together for a long time - until a few years before Marie's death. This performance is from 2009 - with less epic hair, but just as epic performance.
The band rerecorded the song in 2015, as part of an advertising campaign - with a new mix and new vocals. It would be a Swedish Top 40 hit.
It's a different song - far more focused on electronic music and tuned to the slightly reduced vocal ranges of Fredriksson and Gisele. It wasn't the last thing Fredriksson would record (they released another album in 2016) but it's one of the last, and that makes it somewhat sad.
Marie toured with Roxette and announced that she could not any longer in 2016. You can see her still performing her heart out, even sitting down, in 2015, which was one of her last live performances.
Per Gessle briefly reuinted the band in tribute to Marie under the name PG Roxette. They did a tribute show for her and of course included this song - with him singing some of her part and other background singers picking up the rest.
She's not your typical pop star, and yet, you know who she is..... and not just because she wore a swan dress to the Oscars.
No joke, this dress has its own Wikipedia page. Photo credit: Cristiano del Riccio
She got her start at the age of 11, as a children's artist, and then started and joined a bunch of bands in her native Iceland. Eventually, she joined a supergroup called Sykurmolarnir, which in English translates to The Sugarcubes. That band released three albums to worldwide acclaim before breaking up... partly because their record label - Smekkleysa, or Bad Taste in English - was taking a lot of time (and still does - the band members still run it today) and mostly because Björk was a hot commodity and in demand for a solo career.
Her adult solo debut, called Debut, was an international smash hit. This song, which was very much in the style of house music, was a huge club hit and a minor pop hit, her first to hit the US Billboard Hot 100. Co-written by Björk and producer Nellie Hooper, it is a song not necessarily about sexuality but about bravery.
Björk was - is - known for her unusual voice and ability to incorporate primal scream into her performance. Nowhere is that more apparent than in the live performance of this song, which is of course a staple of her performances.
I wanted to share this rare performance with Talvin Singh (he's the guy on the Indian drums 0and a well-knwon virtuoso on them) & Guy Sigsworth. which is a lot more stripped down and quieter. Björk's childlike raspiness really shines through here.
The version she did for MTV Unglugged was different still - with more Indian-influenced instuments and less of the synthesizers that were the hallmark of the original.
I like to chose songs with an intresting story. This is one of those songs.
If you are reading this in the United States, this is not the Pet Shop Boys song that hit the top of the charts. This is the original version of the song, released by the group in 1984, produced by Bobby Orlando.
If you are reading this in the UK, or were a clubgoer in the mid-1980's, you may recognize Bobby Orlando's attempt at British rap.
In 1985, the Pet Shop Boys got signed to EMI records and rerecorded this song. Whereas the original featured Orlando's instruments and samples, this version featured none of that - and was mostly created on synthesizers. It was also less rap and more Neil Tennant talk-singing.
This version resonated better, topping both the US and UK charts.
This version is also a little darker and more haunting - kind of like audio film noir - and an objectively better song.
It should come as no surprise that this is their best known song and biggest hit, although they've certainly had other hits.
The audience still knew the song a full 25 years after its initial release.
In 2022, the Pet Shop Boys changed the lyrics of the song, from "Finland Station", which is in Russia, to "Kviv Station", in Ukraine - by the way, it was called Kiev in 1984 - in solidarity with Ukraine in light of the invation by Russia.
Also, Neil Tennant has not lost a BEAT off this song or off his voice - after performing it for 40 years!
As many of you know, I was a college radio DJ. As such, I had early access to music, some of which was on the fringe of music in the early 1990s.
That includes They Eat Their Own, an LA-based band founded by vocalist Laura B. (Baricevic) in or around 1989, which was together until about 1994. They didn't have a lot of success, but they had that ONE SONG and that ONE VIDEO.
This is that song. Released in 1990 or 1991, it got a fair bit of airplay and got the band a major label deal with Geffen Records.... that ended up imploding before anything came of it. This song, however, is absolutely amazing.
Of course, they wouldn't have gotten their single released at all if they didn't perform live extremely well. This version, performed live at the LA Music Factory, predates the studio recording, and it's sparser, but still great. Laura is a terrific frontwoman.
I said "is" for a reason. You see, after TETO broke up, Laura B. hopped around the country for a bit, settling in Pittsburgh, PA. She started a band called The Off Labels, and they performed a lot of her old stuff.... like this song. Have a listen to this performance from 2014.
This was an outtake from last week, where there was a lot of sugary sweet songs. Plus Metallica.
We had to combat the saccharine.
So, we did it with South Park. Season 1, Episode 10.
The song is far from politically correct, and features Eric Cartman (voiced by Trey Parker) repeating an insult about Sheila Broflovski, who happens to be Kyle's mom.
Kyle, voiced by Matt Stone, did not appreciate the song.
In 1999, the Academy Award nominiated film South Park: Bigger, Longer and Uncut, was released. An extended, uncensored version of this opus was included with the movie, as it should be.
By the way, there's almost one "bitch" per second in this version.
Of course, it's more meaningful to see Trey Parket and Matt Stone actually perform this thing of beauty live. They did just that at the 25th anniversary concert.
Yes. South Park is old enough to rent a car.
The testimonial to this song is how many people know and love this song. It's a classic - more so than the theme song.
It's also incredibly crude.
The orchestral rendition is only a little bit less crude.
Persian-Kiwi rapper CHAII has carved out a corner in the hip hop scene that is fresh, diverse and extremely exciting, drawing from her Iranian heritage as well as the multi-faceted and multi-cultural world of hip hop burgeoning in Australia and New Zealand.
Not wrong.
This video - for the title song of her debut EP - is self-directed, filmed in California (where a lot of her family and, indeed, a large Persian popluation, lives). You can see the signs in Farsi - in CALIFORNIA. Everything you see and hear is all CHAII's vision - and she is clearly proud of her heritage.
OK, so yeah. This song is objectively cool as f.
But why this week?
Because this song was featured, along with a lot of other modern Middle Eastern music, on the television series Ms. Marvel. I absolutely can easily make an entire week - a MONTH - out of great music from that one series alone. It was hard to choose just one.
In 1986, a band that was growing in popularity (but not getting much airplay) released their third albun, Master of Puppets. The only single they released from that album was the title song, and it was a goddamn masterpiece. The song is about their frustration with the music business how drugs can control your life.
It was also the last album and therefore the band's last single that featured original bassist Cliff Burton, who passed away later in 1986. This was his favorite song on that album, and its mine as well. The band all co-wrote the song, which features long instrumental breaks, dramatic tempo changes, and even an homage to David Bowie.
Those of you who know television know where I'm going here.
That's right. James Hetfield's appearance on American Dad, which features this song.
No, no, that's not what you were looking for.
Of course, it was The Simpsons, where the band appears and featured this song and a super diss on the bus driver.
Ohhhh, no. You meant Billions, the Showtime series. You know, its seventh season comes tomorrow to Paramount+ (with Showtime).
OK, fine,
Stranger Things generated TWO Billboard Hot 100 hits last year. "Running Up That Hill" was a huge hit, but "Master of Puppets" featured prominently in the season finale, and made this song a top 40 hit - with airplay finally coming ON POP RADIO -(although rock radio played them even more) - in the United States, nearly 40 years after its initial release.
According to my sister, Eddie played this song on his guitar in the Upside Down to destract the demobats away from Venca's house, so Steve, Robin and Nancy could sneak in to try and hurt/kill Vecna before he got Max.
This is Eddie. It's he who played the song.
There's no way in hell I'm posting a picture of Vecna. I Googled that so you don't have to.
I understood none of that, so I hope you did.
I just wanted to remind you that this song is 37 years old and the band still performs live, and they ALWAYS, to my knowledge, include this song, which is one of their most popular amonsgt fans (including my sister).
In current concerts, they actually use some of the Stranger Things images on the screen. Which you can see in this video, taken when they played in Western New York in 2022. August 11, Highmark Staduim (which used to be called Rich Stadium and that's what it will always be to me). I know this because my sister, Dawn, actually recorded this video.
The song is also featured in my favorite TikTok post... of mine.
Some songs, you just save for someone to pass away. This is one of them.
This song, quite likely the best known song by Canadian-American band The Band, was written by Robbie Robertson, who has passed away. He was 80 and had been ill for quite some time.
He had a career as a backing musician for Bob Dylan, with the Band, and a solo career. I personally loved his solo stuff.
Rick Danko and Levon Helm provide vocals on this song, of course, while Robertson plays guitar. The song is a tale of a traveller passing through a town called Nazareth and finding some kind folks along the way. I certainly hope he's met with kindness whereever he is now.
When he went solo, Robertson did play his best known song live. It hit a little differently without The Band - a little more of a slow jam - but it still worked, and was full of just as much emotion and appreciation.
In 1981, Billy Vera, along with his live band The Beaters, released a single called "I Can Take Care of Myself", which ended up being a top 40 hit - Billy Vera's second, but also his first since 1968. His follow-up song was an over-the-top sad love song called "At This Moment."
It would peak at #79 on the Billboard Charts in 1981 - a minor hit, but nothing spectacular.
Fast forward to 1985. During the 1985-1986 season of the popular TV show Family Ties, the character of Alex P. Keaton, played by Michael J. Fox, was given a love interest, Ellen Reed, played by Tracy Pollan (who would soon become Fox's wife (she still is)). It was a great on-screen relationship, probably because they had that real-life connection.
Anyway, this song was used by the show as their love theme - and it became a huge, HUGE hit on its second run. It topped the charts in 1987, and also hit the country charts - such a crossover by a chart-topping pop song wouldn't happen again for another 13 years.
It would be Vera's last Top 40 hit (to date).
Despite the song hanuting Michael J. Fox and Tracy Pollan for a few years, they, and all the cast, appreciated the song, and he the show. In 2011, he performed the song at the TV Land Awards - and yes, the cast of Family Ties were there... and clearly enjoyed it.
I will take any excuse to take a screen grab of Michael Gross and Justine Bateman enjoying a Billy Vera jam (you weren't expecting Michael J. Fox and Tracy Pollan, were you?)
Here is his performance from that night. You can see all the main cast members from the show's run watching and enjoying.
Sometimes, it isn't just a random song from an episode that hits just right.
Sometimes, it's the theme song.
Take this song, from the 1981 series The Greatest American Hero. Starring William Katt and Connie Sellecca, and I guess William Culp, and created by the legendary Stephen Cannell, it would last for three seasons... and the theme song was inspiring.
Joey Scarbury's biggest hit peaked at #2 on the greatest American pop charts in 1981, being kept from the top spot by the juggernaut that was "Endless Love". Steven Geyer wrote the music, with producer Mike Post providing the music.
Of course, the tune would be repopularized by George Constanza's answering machine on Seinfeld.
