Tom MacInnes, Writer

The Top 500 Songs in Modern Music History: Song #413…Maybellene by Chuck Berry (RS)

This list of songs is inspired by lists published by radio station KEXP-FM from Seattle in 2010, as well as the latest poll taken in 2021 by Rolling Stone Magazine. For the most part I will faithfully countdown from their lists, starting at Song #500 and going until I reach Song #1. When you see the song title listed as something like: Song #XXX (KEXP)….it means that I am working off of the official KEXP list. Song XXX (RS) means the song is coming from the Rolling Stone list. If I post the song title as being: Song #xxx (KTOM), it means I have gone rogue and am inserting a song choice from my own personal list of tunes I really like. In any case, you are going to get to hear a great song and learn the story behind it. Finally, just so everyone is aware, I am not a music critic nor a musician. I am a music fan and an armchair storyteller. Here is the story behind today’s song. Enjoy.

RS: The Top 500 Songs in Modern Music History.

Song #413: Maybellene by Chuck Berry.

One of the trends that has developed over the first 80+ songs on this list of all-time greats is a recognition of performers who were pioneers in their genre. We have recently had Massive Attack and Afrika Bambaataa (Trip Hop and Hip Hop), we learned about DJ Shadow (the first to release an album entirely comprised of samples), we read about how Iggy Pop and the Stooges set the table for the Punk Movement that followed and, finally, we have listened to many of the early bands who started the New Wave/Alternative genre off such as The Smiths, Echo and the Bunnymen and so on. Today, we meet one of the biggest names of them all…Mr. Chuck Berry. Chuck Berry is rightly credited as being one of the architects of a musical sound that became known quite simply as Rock n’ Roll. His songs were filled with vivid descriptions of fast cars and sexual longing, powered by sizzling electric guitar work; all of which, were built upon a foundation of the Blues. Chuck Berry ushered in a sound that shattered the conventional music world as it existed in the 1950s and paved the way for singers like Elvis, Jerry Lee Lewis and Little Richard to follow. Chuck Berry had many, many hits including, “Roll Over Beethoven”, “Rock and Roll Music”, “Sweet Little Sixteen” and, of course, the granddaddy of them all, “Johnnie B. Goode” but, the one that knocked down the door and started everything off, was “Maybellene”.

“Maybellene” was recorded in 1955. America was a much different place at the time. The mythology of it all is reflected in images such as Mrs. Cleaver (from the tv show, “Leave It To Beaver”); all pearls and high heels, bustling about the home, cleaning and preparing supper. Crooners filled the airwaves. Black musicians like Berry were relegated to the sidelines of the Entertainment world. Seeking a way into the music world, Berry sought the counsel of Blues legend, Muddy Waters who, in turn, directed him to a production company in Chicago called Chess Records. At that time, Chess Records was a company that was known to be open to producing the work of Black musicians. At the time, Berry’s version of the song that would end up as “Maybellene” was called “Ida Mae”. Berry recorded it, and several others, and left the studio hoping that Chess Records would work their magic. Berry heard nothing from them for weeks until one day he happened to hear his song, in his voice, being played on the radio. Delighted and intrigued, he purchased a copy of the single. This is when the story of Rock n’ Roll took a turn.

Unbeknownst to Berry, “Maybellene” had become involved in a practice that was quite common at the time which saw record companies make secret side deals with radio DJs to play their song more often and in more favourable time slots. In return, the record company would assign the DJ a “songwriting” credit on the song thus, they would earn royalties on every sale of music their were promoting on their shows. This arrangement became known as payola.

So, when Chuck Berry purchased that single of his song, he was quick to note that the songwriting credits were split three ways! One went to a man who operated a printing office and was given a cut of the sales in lieu of Chess Records paying their printing bill. The second name on the 45 single was a nationally-known DJ named Alan Freed. In the 1950s, there was no Internet, no YouTube, no MTV/MuchMusic to promote a singer or a band. Instead, performers had to tour relentlessly or else, they had to get their songs played on national radio shows. In those days, there were several DJs who had a nation-wide status…Wolfman Jack, Dick Clark and Alan Freed. Eventually, lawsuits were launched and the practise of payola was outlawed. Dick Clark and Wolfman Jack agreed to stop extorting payola from record companies and went on to have long and illustrious careers. Alan Freed, on the other hand, was made the poster child for this abusive racket and was drummed out of radio and had his career ruined. As for Chuck Berry, it took him almost forty years (!) to gain the sole songwriting credit for “Maybellene”. In that time, he lost thousands and thousands of dollars in royalties that were rightfully his.

The video for this song is noteworthy, too. Check out the make up of the audience, their fashion and their demeanour as Berry plays. Because radio is an aural medium, many people did not know that Chuck Berry was actually Black until he appeared on the stage. Note how he came on late, after the introductions were made, even though his back-up band was already playing. While he is, generally, accorded much respect these days, it was different back then. It wasn’t easy for Black musicians to stray from their lane, as it were. Berry not only strayed from his lane, he obliterated the dividing lines. But, as this video clearly shows, the white audience doesn’t quite know what to make of him and their reception is, somewhat, chilly. Like Jackie Robinson in Baseball, Chuck Berry was a brave man.

The story of “Maybellene” is one of the more important chapters in modern music history. It helped launch a new genre of music that changed popular music completely. Secondly, it helped expose the grift known as payola and therefore, every musician who has followed in Chuck Berry’s wake has benefitted by being able to keep more of the earnings that they were entitled to. But perhaps, most importantly of all……”Maybellene” is a terrific, rocking song. So, let your toes tap and fingers snap to the electrifying sounds of a true legend and trailblazer….the Man, himself, Mr. Chuck Berry! Enjoy!

Payola = three “songwriting” credits but, only one actual songwriter (C. Berry).

The link to the music video for Maybellene by Mr. Chuck Berry can be found here. ***The lyrics version can be found here.

There is a website dedicated to maintaining the legacy of Chuck Berry. It can be accessed by clicking on the link here.

Thanks to Rolling Stone Magazine for supporting important musicians and promoting the music they produce. A link to their website can be found here.

***As always, all original content contained within this post remains the sole property of the author. No portion of this post shall be reblogged, copied or shared in any manner without the express written consent of the author. ©2021 http://www.tommacinneswriter.com

The Top 500 Songs in Modern Music History: Song #412 …True Colours by Cyndi Lauper (RS)

RS: The Top 500 Songs in Modern Music History.

Song #412: True Colours by Cyndi Lauper.

Cyndi Lauper burst onto the music scene in 1983 with one of the most successful debut albums ever for a female artist. Her album She’s So Unusual spawned four hit songs: “Girls Just Wanna Have Fun”, “Time After Time”, “All Through the Night” and “She Bop”. She won the Grammy Award for Best New Artist that year, too. Lauper had several other hits over the course of her career but, none were more important and inspiring that a song called “True Colours”.

“True Colours” is one of those songs that has ended up having a legacy that extends beyond the original meaning of the song when it was written. It is a song that has become a very personal and yet, collective anthem for the Gay Rights Movement around the world. For Lauper, it was to be the final #1 hit she would have in her very successful career. But, as irony would have it, it was the only song on the album True Colours that she had no role in writing. The song, “True Colours” was written by two men, Billy Steinberg and Tom Kelly. The song was written about Steinburg’s own mother and was originally given to Anne Murray (of all people) to record. Murray declined so next the song was shown to Lauper. She liked the song but didn’t think the musical arrangement worked (it was based upon “Bridge Over Troubled Waters”) so, she re-constructed the arrangement and came up with something that now seems absolutely perfect for the song. When she sings it, she does so in memory of a friend who died of AIDS.

One of the most ingenious aspects of “True Colours” is the universality of its message. The song is about accepting someone as exactly who they are and who they were meant to be. It is about true love; which is welcoming and protective and reassuring and warm. “True Colours” can be sung by parents toward children, husbands toward wives (and vice versa), friends toward friends and so on. It is a song about being seen. Truly seen. And loved for it.

I had the privilege of seeing Cyndi Lauper open for Cher in Toronto about fifteen years ago or so. Both Cyndi Lauper and Cher have a huge following in the LGBTQ community and the love and respect flowed both ways that night. “True Colours” is one of the most revered songs by this community and has come to be paired with the iconic rainbow flag as the true manifestation of this song’s title. For those who may not be aware, the original eight colours of the Pride Flag stood for: Pink: Sexuality, Red: Life, Orange: Healing, Yellow: Sunlight, Green: Nature, Turquoise: Art, Indigo: Harmony and Violet: Soul. When you look at these colour meanings, it is easy to see how they help form the core characteristics of any self-actualized human. The message of “True Colours” being that regardless of how much of each colour we possess, we are all beautiful and worthy of acceptance and of love. That is one powerful message that all started with the title track of an album by a funky girl with crazy hair of her own. So, spend a few minutes of time today and think good thoughts about someone who would welcome your kind regard. That is how we bring sunlight into the darkness. Have a wonderful day.

The link to the music video for “True Colours” by Cyndi Lauper can be found here. ***The lyrics version can be found here.

Cyndi Lauper has her own wonderful website that can be accessed by clicking on the link here.

Thanks to Rolling Stone Magazine for helping to inspire the writing of this post. A link to their website can be found here.

The Top 500 Songs in Modern Music History: Song #414…Unfinished Sympathy by Massive Attack (KEXP)

KEXP: The Top 500 Songs in Modern Music History.

Song #414: Unfinished Sympathy by Massive Attack.

I greatly admire ingenuity and innovation. It is super easy to repeat successful formulas and produce pleasing results that will always be well-received because you know that what you are creating has already proven to be popular. But, for me, there is a difference between those who follow trends and those who create them. Today, we will take a pleasing look at a group that took an established genre of music (Hip Hop) and created something completely different out of it by using the same techniques (sampling, scratching) but, by approaching it in a completely different way. The group is known as Massive Attack. They are comprised of a group of DJs and sound engineer-types out of Bristol, England. The main group members were Tricky (who has a fine career as a solo artist), Grant “Daddy G” Marshall, Andrew “Mushroom” Vowles and Robert “3D” Del Naja. Here is a bit of trivia for you about Del Naja….there is a fairly strong rumour circulating in Art circles that Del Naja is actually the creative force behind guerrilla artist Banksy. If you know anything about Banksy and the clever, politically-sharp silhouette style art that he pops into place, here and there then, you might have a sense for the creativity that was brought to bear in music with his group, Massive Attack.

If you took the time to read my post about Afrika Bambaataa last week, you will already know that there was a strong movement in Hip Hop circles throughout the 1980s, to create music that was a hybrid of styles; funk, techno, rapping, etc. This created a genre of music that was very dance-oriented and energetic and fun. People like to dance and to party so, not surprisingly, this style of Hip Hop became popular. But, to the minds of those in Massive Attack, they looked at the foundational techniques used to create Hip Hop (music sampling, record scratching, etc.) and wondered what would happen if they turned the intent on its head? What if, instead of creating peppy, dance music and anthemic chants, they inverted the philosophy and created something that was cerebral and ethereal. In doing so, Massive Attack (along with Bristol compatriots like Portishead) invented a style of music that has become known as Trip-Hop. As with any new movement in musical circles, for a new movement to take root, a song/album must capture the attention of critics and fans alike. That album was Blue Lines released in 1991 and the song was “Unfinished Sympathy” by Massive Attack.

“Unfinished Sympathy” is a beautiful, soulful, highly orchestrated song about love and longing. It is about a relationship that began and was satisfying to the female singer, Shara Nelson but, which fell apart before it took firm root. The title for the song is a play on Schubert’s “Unfinished Symphony” which should give you a sense that this Massive Attack song is more in the classical genre than it is in the old-school Hip Hop genre.

The video for this song is noteworthy, too. It was shot in Los Angeles so as to capture a “golden sunshine” that can only be found there, apparently. But, what is special about the video is that it was one of the very first to ever be filmed in one, long continuous shot. In the video, Nelson walks through a section of downtown L.A., oblivious to the goings on around her (and, there are something distraction-worthy things happening as she walks and sings about her lost love!) The song is quite soulful and Nelson’s singing is beautiful. *This video was paid homage to in the song “Bittersweet Symphony” by The Verve, as well as noted in an earlier post, by folk-rockers Elliott Smith and again by Phoebe Bridgers, who all did that “walk-about L.A.”-thing because of this video by Massive Attack.

Anyway, I don’t want the term Trip-Hop to scare you away and keep you from checking out this song and video. This is chill music. The construction of the song is lush and layered and very thoughtfully done. If the brains behind Banksy are involved then, you can assume that it is special. And, it is. Enjoy the genre-defining genius of Massive Attack and their first big hit, “Unfinished Sympathy”.

The link to the music video for “Unfinished Sympathy” by Massive Attack can be found here. ***The lyrics video can be found here.

A link to an article all about the artist known as Banksy can be found here.

Massive Attack has an excellent website that can be accessed by clicking on the link here.

Thanks to KEXP for supporting groups such as Massive Attack and good music, in general. A link to their vital website can be found here.

The Top 500 Songs in Modern Music History: Song #415…Man In Black by Johnny Cash (RS)

RS: The Top 500 Songs in Modern Music History.

Song #415: “Man in Black” by Johnny Cash.

Johnny Cash was The Man in Black.

There is so much to say about this legendary singer that I almost feel that I don’t need to say much of anything at all. But, what fun would that be? So here goes my shortened take on the life of one of the greatest musicians in all of music history, Mr. Johnny Cash.

Johnny Cash began his musical career at the same time as Elvis Presley, Jerry Lee Lewis and Carl Perkins at Sun Studios in Memphis, Tennessee under the controlling hand of Colonel Tom Parker. Initially, Cash was a gospel singer and auditioned for Parker by singing several gospel songs. Parker turned him away, famously telling him to come back once he had sinned and had more interesting material for his songs. Not to gloss over things but one of the most fundamental aspects of Cash’s life going forward was his battle with alcoholism, drug abuse and his run-ins with the Law. While never actually ending up in prison, Johnny Cash did serve time in several local jails…one night here, one night there….for intoxicated behaviour the resulted in property damage and/or injury to others.

A second fundamental aspect of his life and, one that is reflected in many of his song choices, was a railing against authority and a championing of people he considered to be underdogs in society. For example, he often wrote songs about Native Americans and the raw deal the US Government had dealt them. He was also famous for performing in prisons. Some of his most famous and successful albums of all time Live at San Quentin Prison and Live at Folsom Prison were recorded with an audience of hardened felons.

What helped Cash navigate his way through life were several important people who ended up taking on mentoring or guardianship roles. The most important of which was his second wife, June Carter. A bit of Canadian trivia regarding Johnny and June is that Johnny Cash proposed to June Carter on stage at the old London Gardens arena in London, Ontario. She only agreed to marry him if he dedicated himself to cleaning up his act when it came to drugs and alcohol. He promised he would and, while not always successful, he stayed as true to his word as he could because of his love for June. June Carter Cash died several months before Johnny did but, in one of her final conversations with him, she urged him to spend his final days recording anything and everything he could. One of the songs that arose out of his grief was his cover of the Nine Inch Nails song “Hurt” which is generally regarded as one of the best covers of all time. The video for this song (which is, essentially, the story of his life) earned him an MTV award for Music Video of the Year.

A second influential person in Cash’s life was fellow singer and Highwayman Waylon Jennings. Along with Kris Kirstofferson and Willie Nelson, Cash and Jennings formed a Country supergroup known as The Highwaymen. It was Jennings who started helping Johnny Cash maintain his health (they both had heart surgery at the same time, in the same hospital), as well as with some of his career choices later on in life. As we all know, it is the mark of a true friend when they don’t hesitate to offer honest advice, even if it isn’t what we want to hear. This was true of Jennings when he discouraged Johnny Cash from releasing a series of novelty songs that his record company was urging him to release in order to boost sagging record sales. Integrity matters. It did to Waylon Jennings and it did to Johnny Cash, too.

In a career that spanned nearly a half century, Johnny Cash sold millions of records and produced music that ranged from Country, to Blues, to Gospel, to Rock, to Traditional Roots musicians and so much more. He was a singer, an actor, a product spokesperson and a tv show host. He is one of the very few artists to be in The Country and Western Music Hall of Hall and The Rock n’ Roll Hall of Fame at the same time. He was a singer who was as comfortable on the stage of The Grand Ol’ Opry as he was surrounded by murderers and rapists in the gymnasium of a Federal prison. He was a man’s-man who was loyal to his friends and faithful to his wife. Johnny Cash was The Man in Black. He says that he adopted his “look” because he felt it better reflected those people he sought to ally himself with (as opposed to the glittery outfits of singers such as Porter Wagoner). As you listen to the song “Man in Black”, you will get a terrific sense of the values Cash held and the people he felt needed his representation. As legends go, they don’t come much bigger than the Man in Black, Johnny Cash. Enjoy.

The link to the music video for “Man In Black” by Johnny Cash can be found here. ***The lyrics version can be found here.

The link to the music video for “Hurt” by Nine Inch Nails, (as covered by Johnny Cash) can be found here.

The official website for Johnny Cash can be found here.

Thanks, as always, to Rolling Stone Magazine for supporting good music in all of its forms and manifestations. A link to their great website can be found here.

The Top 500 Songs in Modern Music History: Song #416…Don’t Stop Believin’ by Journey (RS)

RS: The Top 500 Songs in Modern Music History.

Song #416: Don’t Stop Believin’ by Journey.

Journey has had an enormously successful career as a band. Beginning in the late 1970s and continuing on through the late 1980s, Journey reigned as one of the top arena rock bands in the entire world. Led by vocalist, Steve Perry, lead guitarist, Neil Schon, Johnathon Cain on keyboards, Ross Valory on bass and Steve Smith on drums, Journey had a string of hits such as “Wheels in the Sky”, “Open Arms”, “Lights”, “Lovin’, Touchin’ and Squeezin'”, “Any Way You Want It”, “Who’s Crying Now”, “Faithfully” and, of course, “Don’t Stop Believin'”. Journey have sold over 80 million albums worldwide and have had 19 Top-40 hits but, surprisingly enough, they have never had a #1 hit on the Billboard charts, making them the second most successful band in history never to have had a #1 song. *(Electric Light Orchestra had 20 Top-40 hits without a #1 hit to claim that dubious honour).

The story of Journey and, in particular, the song, “Don’t Stop Believing”, is one of the more amazing tales, statistically speaking, in all of modern music history. “Don’t Stop Believin'” was released in 1981 and came from an album called Escape. The song reached #9 on the US BIllboard charts. However, it still managed to sell enough to be certified at 5 times Platinum, making it one of the top #100 most successful songs of all time. Sung with passion by Steve Perry, arguably, one of the greatest male vocalists in rock history, “Don’t Stop Believin'” became a staple of all of their live shows. It’s message of always believing in your dreams and never giving up resonated with fans all over the world. In fact, the NHL’s Detroit Red Wings used the song as a “hype song” because of the reference made to “south Detroit” in the opening verses. *Funny bit of trivia about that: there is no region of Detroit known as “south Detroit”. Geographically speaking, south of Detroit is Windsor, Ontario, Canada. When asked about this discrepancy, Steve Perry said that “south” just sounded better, lyrically, than any of the other directions so, the band went with it. A further note of interest is in the actual construction of the song. Most rock/pop songs follow a familiar structure of verse/chorus, verse/chorus…repeat. “Don’t Stop Believin'” abandons this format and refrains from adding the chorus until the very end of the song. Perry says that the band took pride in being storytellers when it came to their songs. In the case of “Don’t Stop Believin'”, Perry says the idea for the portraits he painted with his lyrics came from watching people leaving a Journey concert one night and wondering what some of their personal stories were. So, he decided to write the song to describe just that. If you listen to the lyrics carefully and imagine a crowd leaving an arena after a show, you can get a good idea of what Perry saw in his mind when he penned the song.

Like most popular songs, “Don’t Stop Believin'” had its moment and then disappeared from the charts as newer songs took its place. If that had been the end of the story for this song, it still would have been a success for the band. However, “Don’t Stop Believin'” holds a unique record of being the most downloaded song in the history of iTunes streaming service. What caused this 80s rock song to become so popular in the decade of 2010 is its appearance in two iconic TV shows.

(1) First of all, “Don’t Stop Believin'” was the very first song featured in the popular show Glee. For those who may have never watched it, Glee was a show about a highschool Glee club. On each episode, they focussed on a song that reflected on the story arc of that particular episode. For the debut episode, the kids on Glee sang a song about holding on to their dreams and never giving up. Their version of “Don’t Stop Believin'” introduced the song to an entirely new generation of fans. Their live performance of this 80s hit was nominated for a Grammy award for Best Live Performance by a Duo or Group.

(2) But, in case Glee wasn’t enough, “Don’t Stop Believin'” cemented its place in popular culture by being featured in the closing scene of one of the biggest tv series of all time The Sopranos. Journey’s 1981 hit became the soundtrack to one of the most memorable and controversial closing scenes in television history. Many scholarly articles have been written about that scene (when the screen suddenly goes black in mid-conversation during a family dinner in a diner), with many scholars crediting “Don’t Stop Believin'” with offering a clue to the moral underpinning of mob boss, Tony Sopranos’ philosophy on life.

When the members of Journey originally recorded, “Don’t Stop Believin'” back in 1981, I am sure they thought that the song stood a reasonable chance of being a hit. But, I can’t imagine that they would have guessed at the cultural relevance their song would take on a few decades later. Simply put, “Don’t Stop Believin'” is one of the most popular and recognizable songs ever! Full stop! End of discussion. I will post Journey’s version below, the Glee version of the song, The Sopranos closing scene and, finally one of those scholarly articles/podcasts about that scene (which will include a section about the song and its importance to the entire series). So, get ready to go down a rabbit hole today! Enjoy.

The link to the live music video for “Don’t Stop Believin'” by Journey can be found here. ***The lyrics version can be found here.

The link to the music video for “Don’t Stop Believin'” as aired on the TV show, Glee can be found here.

The link to the closing scene of The Sopranos TV series, featuring “Don’t Stop Believin'” can be found here.

The link to the podcast that discusses The Sopranos and includes a discussion on the importance of “Don’t Stop Believin'” to the show, can be found here.

The link to the official Journey website can be found here.

Thanks to Rolling Stone Magazine for helping to inspire the writing of this post. A link to their wonderful website can be found here.

The Top 500 Songs in Modern Music History: Song #417…Strange Fruit by Billie Holliday (RS)

RS: The Top 500 Songs in Modern Music History.

Song #417: Strange Fruit by BIllie Holliday.

“Strange Fruit” is one of the oldest songs in this entire list of 500 songs! It was recorded and released prior to World War II. Billie Holiday gained fame from her show stopping rendition of “Strange Fruit” but, originally, the song was written and released by a Jewish writer named Abel Meeropol, who wrote the lyrics and arranged the music while his wife, Laura Duncan, sang the song. Together, Meeropol and Duncan sang, “Strange Fruit” as a protest song, in various New York City venues including Madison Square Garden. It was at one of these NYC nightspots that Billie Holliday was introduced to the song. She recorded it not long thereafter and it became a staple of her live shows.

However, all is not peachy when it comes to “Strange Fruit”. First of all, the song describes the horrific sight of black men being lynched in the southern US. Specifically, it ws inspired by a highly-publicized news photo of the lynching of two men named Thomas Shipp and Abram Smith. A song about racial injustice is controversial in our modern times, let alone half a century ago. So, when Billie Holliday stated that she wanted to record it, her record company (Columbia) refused to allow her to do so. They feared a public backlash, especially from record buyers in the south. Holliday turned to her usual record producer John Hammond but, he refused to touch the song, either. Finally, after performing the song a capella for numerous other producers and record label executives, a man named Milt Gabler at Commodore Records agreed to record the song. Holliday was granted a one-song release from her contract at Columbia (who wanted nothing to do with the song) and was finally able to record “Strange Fruit”.

“Strange Fruit” is such a powerful song, sung in such a powerful way, that Holliday didn’t think it fair for another song to have to follow it when she performed live. So, “Strange Fruit” always closed her shows. When she sang it, which was often in nightclubs or supper clubs, she had a strict rule that the house lights had to all be shut off, all table service by waiters and waitresses had to pause and that the only thing going on was to be a spotlight shining on her as she sang. Suffice to say, the effect was very moving and served to highlight the solemnity of the subject matter of “Strange Fruit”. Time Magazine has listed “Strange Fruit” as the most important song of the entire 20th Century. The song has been inducted into the Rock n’ Roll Hall of Fame and the US Library of Congress for its contribution to the cultural fabric of the US.

“Strange Fruit” depicts a sad chapter in US History; one that continues to be an issue to this day. I would normally encourage you to “enjoy”, as I close out this post but, that would be wrong. Instead, I offer this song in tribute to those who have suffered at the hands of racial violence and injustice in the past and to those who continue to be affected today.

The link to the music video for “Strange Fruit” can be found here. ***The lyrics version can be found here.

A website dedicated to maintaining the legacy of Billie Holliday can be accessed by clicking on the link here.

Thanks to Rolling Stone Magazine for supporting important music. A link to their website can be found here.

The Top 500 Songs in Modern Music History: Song #418…Green Onions by Booker T. and the MGs (RS)

RS: The Top 500 Songs in Modern Music History.

Song #418: Green Onions by Booker T. and the MGs.

Some songs tell a big story and some songs are fairly straight-forward. “Green Onions” by Booker T. and the MGs falls into the latter category. It is an instrumental song that arose out of jam sessions held back in 1962. The song was originally released as a B-side to a single called “Behave Yourself” but, was quickly made into a single of its own once word-of-mouth spread about how much folks liked “Green Onions”.

Booker T. and the MGs consist of Booker T. Jones on keyboards, Lewie Steinberg on bass guitar and Steve Cropper on lead guitar. Once “Green Onions” was officially released as a single, it made it to #1 on the R & B/Soul charts for four weeks! The song is in the Song Category of The Rock n’ Roll Hall of Fame and has been placed in the US Library of Congress because of its contribution to the cultural fabric of the United States. “Green Onions” is among the most popular selling instrumental tracks of all time.

The title for the song came from a desire on the part of the band for something “funky” and “nasty”. Some people think the band was making a marijuana reference but they all claim that rotting green onions were as funked-up a situation as they could imagine so, they decided to title their song as such. Funky, it is! I am sure “Green Onions” by Booker T. and the MGs will have your toes a-tapping as you go through your day. Enjoy!

The link to the music video for Green Onions by Booker T. and the MGs can be found here. ***Obviously, there is no lyrics video for this instrumental song. 🙂

Booker T. and the MGs have a website that can be accessed by clicking on the link here.

Thanks to Rolling Stone Magazine for helping to inspire the writing of this post. A link to their website can be found here.

The Top 500 Songs in Modern Music History: Song #419 …This Must Be The Place (Naive Melody) by The Talking Heads (KEXP)

Kexp: The Top 500 Songs in Modern Music History.

Song #419: This Must Be The Place (Naive Melody) by The Talking Heads.

The Talking Heads were formed in the mid-1970s and enjoyed much success in the decade or so that followed. The group consisted of charismatic front man, David Byrne, along with Tina Weymouth (bass guitar), Jerry Harrison (lead guitar) and Chris Frantz (drums). Much is made of the fact that these four folks were art school students. This is a thing because of the way they approached their music; often juxtaposing imagery into their lyrics that helped give deeper meaning to their songs. As well, The Talking Heads were well known for playing around with the lyrical structures of their songs and the timing of the beats they used. If I dare say, there was an intelligence at work that can be seen in the string of musical gems they produced during their prime. They had hits such as, “Burning Down the House”, “Girlfiriend is Better”, “Life During Wartime”, “Psycho Killer” and “Once in a Lifetime”. In fact, “Psycho Killer”, “Life During Wartime and “Once in a LIfetime” are all inducted into the Song Category of The Rock n’ Roll Hall of Fame.

“This Must Be The Place (Naive Melody)” is from one of their most popular albums called Speaking in Tongues. David Byrne states that this song is a love song. It certainly will give you that feeling when you listen to it. But, Byrne claims to have not wanted to write a love song that sounded like any other love song being played on the radio at the time. So, he created a sort of “inside joke” by writing a love song composed entirely of non-sequiturs. A non-sequitur is a writing convention in which two sentences follow each other in ways that make no sense. For example, if you and I were talking and you started by saying, “Nice weather we’re having today” and I answered with, “Please hold my hand“, you would have non-sequiturs in action. So, the genius of this song is that the entire set of lyrics are comprised of line after line that make no sense in relation to the line that preceded it YET, the song makes sense, overall AND the song sounds like a love song, all at the same time.

“This Must Be The Place (Naive Melody)” is quite an enjoyable sounding song and quite the feat of linguistic dexterity. In addition to the lyrical gymnastics employed by Byrne, the (Naive Melody) part involves the opening few notes and tones that you hear before the first verse starts. Byrne wanted to de-construct the musical structure of what songs could be. In this case, he created an ultra simplistic ostinato, in which the guitar and bass repeat over the course of the entire song without change. So, in essence, The Talking Heads created a new version of how a hit song could be by writing non-sensical lyrics over a simple, repetitive musical structure but, yet, creating a song that sounds wonderful and will have you humming along and tapping your toes.

If your ever wanted to see The Talking Heads at the peak of their creative powers, they released a full-length concert film called Stop Making Sense that was directed by famed Hollywood director Jonathon Demme. The point of that title was, in fact, the philosophy of the band. They believed in not having to adhere to convention but rather, reinventing the way music had been played and by doing so, creating something new and different that still sounded fresh and exciting and enjoyable. They weren’t an experimental band that produce ambient screeching and called it Art. The Talking Heads were innovative musicians and hitmakers who produced some of the most memorable songs of all time. *In fact, as I watch the video for this song and, in particular, the way Byrne interacts with the lamp, in combination with the non-sensical nature of the lyrics, I am reminded of Gord Downie (of Canada’s own, “The Tragically Hip”) and how he moved about the stage, often improvising but, always exiting and reentering his original songs perfectly. So, please enjoy, “This Must Be The Place (Naive Melody).

Enjoy your next meal. These are the times of our lives.

The link to the music video for This Must Be The Place by The Talking Heads can be found here. ***The lyrics version can be found here.

The Talking Heads have an interesting website that you can check out by clicking on the link here.

Thanks to KEXP for supporting musical artists who create original works for our endless astonishment. A link to their website can be found here.

The Top 500 Songs in Modern Music History: Song #420…Louie Louie by The Kingsmen (RS)

RS: The Top 500 Songs in Modern Music History.

Song #420: Louie Louie by The Kingsmen.

“Louie Louie” is a song about a sailor about to arrive in port at Jamaica. He has been at sea for awhile and is longing to reunite with his girl. There is not much more to the song than that. As songs on this list of the 500 Greatest of all time, “Louie Louie” is, arguably, the simplest in construction and lyrical content. Yet, it is beloved! When the history of classic rock is written, “Louie Louie” makes the playlist every time. It was a #1 hit for a band called The Kingsmen. In fact, it was their only hit. But, what a hit! The song was originally written by a man named Richard Berry in the 1950s. It was recorded and released by several bands prior to The Kingsmen in 1963. But, their version seemed to come along at exactly the right time. The combination of infectious beats and simple, catchy chorus, caught the imagination of young Americans who were just falling in love with this new form of music called Rock n’ Roll. “Louie Louie” has been selected for induction into the Song Category of The Rock n’ Roll Hall of Fame.

However, for such a simple song, “Louie Louie” has an interesting history that is told in two separate but, connected parts. First of all, we have the chicken and egg phenomenon of where this song is most popular. “Louie Louie” has become most loved as a party song. Not a birthday party song for your child or a romantic anniversary party song to be danced to with your beloved. No, “Louie Louie” is a party song most often played at University Frat house parties and at bars with sticky floors, where sweat-soaked bodies press against each other in a state of drunkenness and debauchery. There is just something memorable about belting “Louie Louie” aloud with a group of others bonded in the type of camaraderie that comes with being boozehounds together. In 1978, the movie Animal House was released. In a famous/infamous scene, John Belushi and the members of his fraternity drunkenly party to “Louie Louie” while wearing togas. I suspect that Animal House tapped into a Frathouse scene in America that already existed but, whatever the case, after the movie premiered, “Louie Louie” took on a second life, as did, toga parties!

In a related twist, “Louie Louie” was one of the first songs ever investigated by the FBI on obscenity charges. Apparently, there is an x-rated version of the lyrics that are often sung at Frat house keggers. If you replace each “Louie” with the words, “Screw ya!” you can kind of let your imagination take it from there. Anyway, a formal complaint was filed with the FBI about the underground lyrics to the song and the dangerous atmosphere that they caused for women at these parties. The FBI investigated and determined that there was no basis for charges to be laid against The Kingsmen or the original writer of the song, Richard Berry.

I am going to include three different videos for this song. First off, I have a video of The Kingsmen performing at an real Frat party where everyone is actually wearing togas. It is amazing to watch the scene. Such a hedonistic scene! Secondly, I will post the “Louie Louie” scene from Animal House. Finally, this song has been covered by anyone and everyone who plays classic rock so, I will show a Tom Petty take on “Louie Louie”. The reason I chose Petty is that he is really the only one who enunciates the lyrics clearly enough for you to understand them. The Kingsmen are all slurred words and mumbles, except, of course, for the chorus which is all most people really know. So, without further delay, strap on your beer bongs and put on your coolest toga because here are The Kingsmen with their only hit, “Louie Louie”. Enjoy, Party People!

The link to the music video for “Louie Louie” by The Kingsmen can be found here. ***The lyrics version can be found here.

The link to the video for the “Louie Louie” scene from the movie Animal House can be found here.

The link to the music video for “Louie Louie” by Tom Petty and the Heartbreakers can be found here.

The Kingsmen have a website that can be accessed by clicking on the link here.

Tom Petty and the Heartbreakers have a website that can be accessed by clicking on the link here.

Thanks to Rolling Stone Magazine for helping to inspire the writing of this post. A link to their website can be found here.

***As always, all original content contained within this post remains the sole property of the author. No portion of the post shall be reblogged, copied or shared in any manner without the express written consent of the author. ©2021 http://www.tommacinneswriter.com

The Top 500 Songs in Modern Music History: Song #421…Party Rock by Afrika Bambaataa and Soulsonic Force (KEXP)

KEXP: The Top 500 Songs in Modern Music History.

Song #421: Party Rock by Afrika Bambaataa and Soulsonic Force.

Afrika Bambaataa forms one third of Hip Hop’s holy trinity, along with DJ Kool Herc and Grandmaster Flash. He is respectfully called The Godfather of Hip Hop. He is responsible for helping to unify the various forms of Hip Hop that were taking place all over the US in the early 1970s. I should be clear off of the top, that rapping is the song stylings and Hip Hop is more the overall culture of the movement. Under Afrika Bambaataa’s leadership, dance and rap and electro music and funk and disco and soul all found a home in the world of Hip Hop. Because of the work he did, you can draw a direct line of influence from him to Run-DMC, to Public Enemy and N.W.A. and onward to rappers like Snoop Dogg and Eminem and in more recent times, to Kendrick Lamar.

The song, “Party Rock” was so different at the time of its release that music critics didn’t know how to classify it. When you hear it, you will detect a hint of funk, a dash of electro dance and a whole lot of rap but, in those early, formative days, this melding of musical and cultural influences was revolutionary. If you grew up in the late 70s as I did, I am sure that you will find some parts of “Party Rock” to be familiar to you.

If this is your introduction to Afrika Bambaataa then, get ready for a legendary, iconic figure. He is a proud black man who sought to promote his culture and unify his people through music. The video I will post is about a Lifetime Achievement Award he received at the VH1 Music Awards. It is part History lesson/part-celebratory blow-out! After the accolades have been given and everyone says their piece, there is a large scale performance of “Party Rock” that concludes the tribute to Bambaataa. As you watch this video, you can feel the respect that he is accorded and get a small sense of how revered he is in Hip Hop circles. I will, also, post the original, “official” video of the song (It is a very interesting slice-of-life video as it really captures that moment in time when Hip Hop was being born). So people, get ready! “Party Rock” is in the house! Enjoy!

The link to the music video for “Party Rock” by Afrika Bambaataa and Soulsonic Force can be found here. ***The lyrics version can be found here.

The link to the “official” music video for Party Rock by Afrika Bambaataa and Soulsonic Force can be found here.

Thanks to KEXP for always supporting important and innovative music. A link to their wonderful website can be found here.