So What? So Let's Dance!

I’m back… after a very long, and very fun weekend. Thank you to everyone who helped make it so great. This will be my last post for the month and my lone post for the week. Between the birthday festivities last weekend, and the Super Bowl festivities this weekend, I figured one would be appropriate.

I had a topic all nicely set up, but decided to postpone it after inspiration struck a few days ago. What was that inspiration? Dancing. I forgot just how much fun it was to go out and dance like crazy (even if you look like an idiot). It’s great to have drinks, and chat with friends, and flirt with attractive people… but I think there is something to be said for going out and dancing until you can’t walk anymore. It’s so much more fun than just standing around in a bar. I hadn’t done it in quite some time until this past weekend, when I found myself at 4am, in what can only be characterized as the whitest dance party of all time… and it was friggin’ awesome!

So I decided I wanted to share that spirit. Think about how much fun you have when you’re dancing around your place before you go out, or grooving in your car on the way to work, or, as I just did, dancing like a freak at a bar with your friends. For that reason I decided to take my “Song(s) of the Week” feature, and make a whole post about it. So I checked over my library for some of my favorite dance tracks, searching for the ones that people just can’t help but move to. I tried to spread this list around the past five decades, while also making sure that there was at least a little bit of obscurity involved (what’s the fun in me telling you that Thriller is a great dance album… if you need me to tell you that, please leave America). So here are ten songs that I hope get you out of your seat. Play them before you get your weekend started, and I bet you’ll feel more like partying than you thought.

Cool Jerk by The Capitols (1966): Yep, this is most certainly the infamous “Uncle-Frank-in-the-shower” song from Home Alone 2. It’s kind of sad that that’s how most people recognize this song, but what can you do. I mean, does it really matter anyway? This song is great! To me it’s the perfect 1960’s R&B song. It has the boogie-woogie piano, the harmonizing bass horns, the claps, the doo-wop chorus, and so many other great elements… I love it! This to me is great “oldies” stuff… the kind I am so excited to land on when I come across 101.1 on the radio. If you find yourself doing some spastic version of the twist to this song, don’t worry, it’s normal (right?).

Pick Up The Pieces by Average White Band (1974): This is one of those eternally famous instrumental funk grooves that nobody seems to know the name or author of. I know I heard it on car commercials and movie soundtracks for years before I actually found it by name. This is funky stuff. The kind of song where you don’t quite dance in a partying manner, rather you sort of slide around, bobbing your head, as though you’d just walked onto the set of 1970’s TV show… everyone looks so damn cool in their afros and vests! I love the funk-based chord structure of the guitar parts, especially in the intro when they rip those high notes, increasing the anticipation of the bass and the drums dropping that bottom-based groove. And so what if there are no vocals here… they’re not needed. The sax melody is so unbelievably catchy that it fills the space perfectly. Great sax solo in the middle too… I love how they come out of it, and drop seamlessly back into the main groove.

Stomp! by The Brothers Johnson (1980): Ah the disco-funk of the late 1970’s and early 1980’s! This is my sound! I don’t even know how to musically analyze this song. I don’t think I could do it any justice. It’s got all the classic funk elements, but with a modern style. The somewhat cheesy use of violin riffs and bongo beats in typical ‘70’s disco songs, is actually perfect here… don’t know why, it just is. And I love how they give the electric bass a more active, melodic role here (whereas in older funk music, the bass served a far more basic rhythmic purpose), especially by giving a slap bass solo towards the middle. And the whole song just provides this constant buildup by creating a feeling of calmness in the verse, before swelling up and jamming in the chorus. Too bad these guys aren’t really known for too much else beyond this song. Either way, it’s a dance classic.

The Breaks by Kurtis Blow (1980): This song might have been one of the earliest rap songs out there. “That’s the breaks, that’s the breaks!” You have to love it. Kurtis takes us back to the days when rap was cheesy and fun, and talked about how “the IRS says they wanna chat / and you can’t explain why you claimed your cat.” But it was also when rap was dance was funk was all the same. You could have a rap song with funk guitar chords, and deep groovy basslines, and even latin percussion solos. Amazing.

And The Beat Goes On by The Whispers (1980): Yes, this is the song that Will Smith sampled to make his ‘90’s hit Miami. To be fair, I do like his version. Will Smith is a huge cornball, but like it or not he makes some ridiculously catchy music. However, the original, provided here by The Whispers, hits me much deeper. They give you that “four-on-the-floor” bass beat (where the bass drum hits on every beat in 4/4 time), that creates that great disco shuffle. And of course you have those disco violins, and guitars, and doo-wop-like choruses, and everything else. I just differentiate this one because it’s so light and, dare I say, sensual? Just makes you feel like dancing with, or singing to, someone. Man… I was born in the wrong decade.

Give It To Me Baby by Rick James (1981): Oh Rick… you wild and crazy guy. I almost didn’t put this on the list because I figured “Rick James is too popular”, but then I realized that a ton of people know him solely because of Dave Chappelle, and not because of his music. Well Rick James was pretty damn good! And this is one of his best. Great funky bassline… nothing fancy, just straight funk. Excellent use of keys in the verses, and even better use of horns in the choruses. And who couldn’t love singing along, “Give it to me baby!” No joke, I have seen that happen at a baby’s Christening reception. Tremendous.

Jungle Love by The Time (1984): Oh-wee-oh-wee-oh! This is such a classic ‘80’s song. The Time was a dance band built by Prince, and fronted by Morris Day, and thus they bring that same synth-funk that Prince perfected back in the day. This song became legendary not only because it was such a dance hit, but because it provided that creepy, animal-sounding chant in the chorus… and also because it appeared in a Jay and Silent Bob movie. In any event, this song is funky, fun, and updates the soul of the ‘70’s with the attitude of the ‘80’s, and if you dare listen to it, good luck! You will be singing it for the next two weeks.

The Bomb! (These Sounds Fall Into My Mind) by The Bucketheads (1994): Every time I hear this song I am back in the summer of 7th grade… it’s a pretty good feeling. Not much to worry about back then… just fun. I mean c’mon, you all remember this song! With the guy repeating that one line, and the weird ‘90’s drum machine sounds, and the transition into the melodic trumpet section. This song is so dated, yet so timeless at the same time. It could never have existed anywhere outside the mid-‘90’s, yet when people hear it 10+ years later, you still see them smile and start moving around. Probably because, like me, a cheesy song like this reminds them of a time when these cheesy songs were what everyone loved. Well except for one month, that same summer, when the Macarena was popular... that got real old, real fast.

Cosmic Girl by Jamiroquai (1996): I like Jamiroquai, and I’m not afraid to admit it. They (the band is actually “Jamiroquai”, the lead guy is “Jay Kay”) may strike some as corny, but they actually create some pretty complex and impressive music. And anyone would have to admit that Jay Kay’s voice is incredible. They provide some funk and soul to a dance music scene that, as far as I am concerned, is lacking in those two areas. While we all met the band via Virtual Insanity back in 1996, I maintain that it is this song that brings the groovier, dance element. It’s dominated by the synthesizer (especially the synth strings), but it’s also got a very deep, traditionally soulful bassline to it, and employs a tight and staccato-like sound on the drum parts to make it more dancehall-friendly. It’s a little lighter than some of the others on this list, but still a good one to jam to in the mirror before a night out (not that I would know…).

Fa-Fa-Fa by Datarock (2007): Lastly, we come to the modern day. This song was filling the halls of Sony BMG Music for a good two weeks this summer. Annoying, yet infectious. It’s by a Norwegian dance band that few in this country have heard of, and it will leave you humming the melody incessantly! But it is fun. Very upbeat and very funky. Ah, screw it! I’m going to let you all judge this last one on your own. Enjoy, and have a great weekend! See you in February. Go Giants!!!

It’s My Party, and I’ll Play What I Want To

Today is January 24th, my birthday. I am now 25 years old. Some call this the birthday of the quarter-life crisis. Not me. I’m excited. I have a full half of my 20’s to go, and I figure that’s a pretty good place to be.

So yea, Happy Birthday to me. And since it’s my birthday, I am going to write about my favorite band. I promised that I wouldn’t overdo it with Chili Peppers stuff (and I won’t), but today it seems fitting. The band is, after all, also 25 years old this year.



If you know me, you know how much I love the Red Hot Chili Peppers, so I don’t have to explain. Furthermore, I wouldn’t dare devote a measly single entry to the band and everything they’ve done. It would simply be impossible for me. So instead, I’ve chosen to focus on one particular album… for now… Freaky Styley.



Freaky Styley is one of my favorite RHCP albums, but is also one of their least prominent, mainly because it came out in 1985. The Chilis have put out a total of 9 original studio albums thus far, but the first three are, for the most part, buried in obscurity. It is the albums of the 1990's that people are most familiar with. Mother’s Milk, released in 1989, featured the hit song “Higher Ground”, and was basically the band’s “breakthough” album, introducing them to the masses. Blood Sugar Sex Magik (1991), of course, was the gold standard that made them superstars and gave us “Under The Bridge” and “Give It Away,” and Californication (1999) marked their comeback and cemented their status as rock legends.

But very, very few people seem to know any of their stuff from 1983-1989, which, I must say, is a shame. I admit, their 80’s stuff is a little cheesier and far less mature sounding than the hits we’ve all grown accustomed to, but it possesses a rawness and an edginess that you have to appreciate. More importantly, when you hear their old songs, you have to be struck by how unbelievably out of place their sound seems when compared with all of the mainstream stuff that was going on in the 80’s. You had hair bands, and synth bands, and fledgling hip-hop, and New Wave, and Madonna, and MJ, and on and on and on. When someone says “80’s music,” you immediately know what they’re talking about. But the Chili Peppers? No. You probably don’t think of them. They don’t really fit that mold. And that’s because rather than play to the style of 1980’s, they were updating the style of the 1970’s, while developing a new style that wouldn’t be seen until the 1990’s. Have I thoroughly confused you yet? Good.

What I’m saying is this. When RHCP was making music in the midst of the 80’s, they were really playing an old school style. They were four white kids who wanted to play James Brown songs, and George Clinton songs, and Sly Stone songs. They were all about funk, at a time when funk had pretty much become dated. People were into dance songs that sounded more modern and futuristic, and featured synthesized keyboards and drums. The Chilis were out there playing funk guitar riffs and basslines. They didn’t fit… at least not at that moment. See, the ironic part is that the edgy style that they created in the 80’s (when nobody was listening to it), eventually became part of the mainstream in the 1990’s. For that reason they were somewhat ahead of their time, while also being somewhat dated at the same time. Maybe that’s why nobody bought their albums in the 80’s.

But anyway, I maintain that their old stuff is incredibly underrated, especially Freaky Styley. It was their second studio album (their first, I admit, suffered from a severe lack of recording experience), and probably their funkiest venture to date. The lineup featured Anthony Kiedis on vocals, Flea on bass, Hillel Slovak on guitar, and Cliff Martinez on drums. The history of the band’s lineup is an entirely separate issue, but briefly, the lineup that everyone has grown to know as the RHCP of the last 20 years (with a brief exception in the mid-90’s) is Anthony, Flea, John Frusciante, and Chad Smith. In the 80’s, however, it was Anthony, Flea, Hillel Slovak, and a combo of drummers (Martinez and Jack Irons). Tragically, Hillel Slovak died in 1988, at the age of 26, causing drummer Irons to quit, and causing the band to nearly collapse. As you all know, that’s not how the story ultimately unfolded, but it should be noted that half of the original band changed in 1989.

Back to 1985. The Chilis are on their second album, and they’re starting to gain a little bit of recognition in the industry. One particularly big name who liked their sound was none other than the aforementioned George Clinton, of Parliament/Funkadelic fame. Clinton was actually so enthralled with their fresh, funky sound that he signed on as producer of the album. The impact of having him oversee the project can not be understated, as he took this young funk/rock style of music, and guided it to a unique, hard-edged, but soulful, sound. Furthermore, just to make sure that the sound retained the elements of pure funk, Clinton added a horn section on most of the tracks. He did not, however, employ just a few random horn players. No, he brought in Maceo Parker and Fred Wesley, two recording legends, most famous for being the right and left hand men to the Godfather of Soul, James Brown.

With three funk legends acting as mentors, the Chilis were able to tap into a deep sound that was part rock, part funk, part soul, and part young hip-hop. There really isn’t a pop-sounding 80’s song to be found on Freaky Styley. But as far as I’m concerned, that’s fine. What you get instead is even better. It’s a unique, raw, almost out-of-place sound, that offers insight into where the RHCP that we all know today came from. Their style back then was considered weird and unmarketable, but it served as the bedrock sound of a band that would eventually rocket to stardom. And the unique funk sound that so many people know and love today, was born out of this even funkier sound from way back in the day (regardless of whether or not people still like it). Freaky Styley may be somewhat dated, but it’s still funky as hell. So if you’re interested in hearing where these guys honed their funky sound, this is the album to check out. Enjoy, and have a good weekend… I know I will.

*Notes: If you want old school funk, with groovy basslines and melodic horns, check out “American Ghost Dance,” “Hollywood,” and “The Brother’s Cup”… “Hollywood” is actually a cover of the song “Africa” by The Meters… There is also a cover of a Sly & The Family Stone song on this album, called “If You Want Me To Stay”… Hillel Slovak (whose funk/rock style was a huge influence on current RHCP guitarist John Frusciante) shines most on “Nevermind”, “Battle Ship,” and “Yertle the Turtle”… Flea’s slap bass technique is at it’s best on the legendary track “Blackeyed Blonde”… As for Anthony, if you really want to see that this guy was rapping at a high level as early as 1985, check out the Demo Version of “Sex Rap” (available on iTunes… the album version just isn’t as good)… I’m probably not much help for specifics because I love this whole album. It may not rock you as hard as most modern stuff, but it’s got a great, groovy tone throughout. Plus when you think about the fact that they did this in 1985, it really makes the whole album pretty interesting and impressive.

Tracing Some Roots

Today is Martin Luther King Day. A day that most of us just look at as part of a 3-day weekend, but that in truth has far more significance than any of us could honestly appreciate. Dr. King was one of those rare individuals that gave so much to the world, and had such a huge impact on society, that it is truly hard to grasp how much he actually accomplished, and how much he changed the course of history.



I have an infinite amount of respect for Dr. King. I think most people do. He had a way about him that was just… I don’t even know. We watched many of his speeches in my communications classes in college, and it’s hard not to be moved, or simply blown away, when you actually watch and listen to how this man was able to speak and lead. He has inspired millions throughout the years. And of course, his messages – and the themes of the civil rights movement in general – helped shape the music of that era, albeit indirectly.

However, I’m not going to get into the immense amount of social activist music that came from that period. Instead, when thinking about Dr. King today, I was drawn to the question of: Who is singing about this kind of stuff today? More specifically, I took a look at hip-hop, and tried to figure out which of these icons of the African-American community was rapping about an actual message. We have Soulja Boy, and Flo Rida, and Young Jeezy, and T-Pain rapping and singing about… well whatever it is they rap and sing about… but really, who is rapping about social awareness anymore?

To be fair, we do get some good messages from stars like Kanye West, and Nas, and Jay-Z, and Eminem, and others, but not really on a consistent basis. For a while I, like many others, was championing Talib Kweli as the next great hope for rap music. But of course, as he has grown in popularity, he seems to have become slightly less focused on the issues, and more focused on the marketability of his sound (don’t get me wrong, I still love Talib, and I think he is one of the best in the business). There are also the traditional greats like Public Enemy and A Tribe Called Quest, as well as countless unknown underground artists. But I’m talking about the current mainstream. Who in the hip-hop game, already having the fame and credibility, is at the forefront of rapping about the real issues these days?

My answer? Philly’s finest. The Roots. As far as I’m concerned they’re in a class of their own. Nobody can touch them because, quite frankly, nobody plays what they play.



First off, they’re an actual band! An African-American, hip-hop band! That’s simply unheard of nowadays. And they’re amazing to boot! Six guys (MC, drummer, bass, guitar, keyboards, and percussion) who get on stage and actually play great hip-hop music that talks about something other than buying people a “drank” (whatever a “drank” is… honestly, how unbelievably stupid is that?).

I admit my bias here. I love these guys. They’re one of my favorites. I own a lot of their music, and have seen them live four times. But trust me, they are as legit as it gets. Each band member is a seriously talented musician and can play the hell out of his instrument (*note: they’ve changed lineups a ton throughout the years, but that has never seemed to affect the sound). The ability to actually play and improvise the sounds you hear in your head, as opposed to having them manufactured by a machine, changes the entire dynamic of that sound. For example, in college I saw Common live, and he used a DJ… he was great, but… the energy and musical stylings were lacking… it’s a guy spinning records of already recorded music… not much you can do with that (NO disrespect to DJ’s by the way). A few months later I saw the Roots for the first time. A group of guys making music, not re-playing it. You have drum solos, improvisation on the keyboard, rhythmic popping and slapping by the bass player… it creates an entirely different feel. And they were simply electric. If you haven’t seen them, I recommend that you do.



Which brings me to another point. These guys tour constantly. It’s what they’re best known for. They get out on the road hundreds of nights a year, and play complex and provocative music, making sure that they get their message out to as many people, in as many places, as they can. It’s inspiring and, in a way, reminiscent of Dr. King. They don’t sit back once the studio work is done, just like Dr. King didn’t just sit at home and hope people heard about him. Both entities got out there and made sure people heard their voice. For The Roots, they hit the road and tour like crazy to get real hip-hop music out there for people. You have to respect that. Not to mention, you get your money’s worth, because they are an absolute killer show.

But of course, it’s not just about playing an instrument or putting on a good show. As I mentioned earlier, I decided to write about The Roots because of the message and the meaning in their songs. For that we have Black Thought to thank. Black Thought (real name Tariq Trotter) is the MC, and frontman/leader of The Roots. He may very well be the best rapper in the industry. I am not exaggerating, the guy is flawless. His phrasing, his rhyme schemes, his speed, his improv, his melodic ability, his stage presence, and of course his actual words. He is absolutely ridiculous. I am convinced he can dominate pretty much anyone out there.



And not only does he possess all of these musical gifts, but he speaks about serious social issues in a manner that is purely astounding. I find myself very often rewinding songs so that I can try to catch all the incredible ideas that he has packed into his verses. A small sample (from the song “Star/Pointro” from the album The Tipping Point):

When that adrenaline get in they system,
It get 'em out on a quest for stardom,
Could be a motherf***in problem,
In Philly, Cincinatti, Los Angeles or Harlem,
Kids call theyself killers let they hammers do the talkin’,
Don't even know the meaning of life, ain't seen a thing,
And you dream of floodin the scenery with,
Llello and greenery,
But for now, you stickin her with the heavy machinery,
Wonder how, you lift it up, be only 17 and like,
E'rybody he wanna shine, young brothers on the grind,
Holdin’ somethin’ in they spine, "Bowling for Columbine",
Stressin’ to me how it's all about a dollar sign,
Dig the way you out of line, out of sight and out of mind.

Transcribing the lyrics hardly does him justice, but you can still get the idea. He’s unbelievably talented, and he has the ability to use that talent not only for entertainment, but for speaking about something that really matters. Hip-hop music, and society in general, would be far better served if we had more rappers like Black Thought.

But alas, today’s hip-hop is what it is. It’s pointless to hate on everything, so instead I choose to focus on the few acts out there, like The Roots, who are really making an effort to talk about the things that need to be talked about. That’s the way it goes I guess. Dr. King certainly wasn’t in the majority either. He stood up and spoke about the things he did because not enough others were. And for that reason, we honor him. Do I dare minimize his contributions by comparing him to a musical group? Certainly not. I just think that in some very modest way The Roots are pioneers and visionaries in their own right. Also, they’re just really, really good. So give a listen, or go catch a show. I doubt you will be disappointed.

Song(s) For The Week: “The Next Movement” from Things Fall Apart, “Guns Are Drawn” from The Tipping Point, and “Game Theory” from Game Theory. Three different songs, from three different albums, reflecting three different styles. “The Next Movement” is from 1999, when The Roots were playing a very jazz-oriented style of music. It’s light and funky, yet a little bit dark. Note the extensive use of the keyboards, played, on this album, by now-famous producer Scott Storch. “Guns Are Drawn” is from 2004, and it shows the R&B and soul side of the band. The track is dominated by the guitar and drums, both played in a very simple and straightforward manner, reminiscent of the soul classics of the ‘60’s and ‘70’s. Black Thought’s genius is complimented here by the soul crooning of Aaron Livingston. “Game Theory”, from 2006, shows the band’s harder/edgier side, as well as their forays into rock-infused rap music. I love this song. It’s aggressive and powerful, yet very complex and aesthetically pleasing. The bassline is groovy; the electric guitar riff is a welcome change of pace; the keys add punch; the beat is tight; and the use of the sampled vocalist adds an element of old-school. Check them out and enjoy!

I Heard Her First… Kinda…

Before I start, I would like to give a very sincere “thank you” to all of you who have read my posts, and have offered words of encouragement. I greatly appreciate it.

Alright, back to business. So the last post I wrote was about the music that was filling my head at that moment. This one will be about something that has been lost in my brain for a few months, but has found its way back because of a TV commercial.

Sara Bareilles. Many of you may know her by now, but some of you may not. She is a budding young songstress, cut from the mold of Fiona Apple, Sarah McLachlan, and Norah Jones (again, all these comparisons are debatable). She comes equipped with a very soulful voice, a decent piano-playing ability, and a unique writing style – which may or may not be attributable to hired songwriters… I’m not sure. But anyway, she has proven, thus far, to be for real. Her single “Love Song” has been holding strong on the charts (Billboard and iTunes) as well as on the radio and the aforementioned television commercials, and has helped inspire a host of young women to buy digital tracks and ringtones, and melodically proclaim “I’m not gonna write you a love song”… Oh yes, I have seen this.



So what’s the big deal? Well, it’s a big deal to me, because in my time working as an intern at SonyBMG Music, Sara Bareilles was one of the few unknown gems that I was privy to before the public. Now that she seems to be attaining some stardom, I can’t help but feel that obnoxious “oh yea, I knew her before she was famous” attitude coming over me. Let’s be clear though. I have never met this woman, and I know hardly anything about her as a person. All I know is that my boss let me hear her demo long before anyone knew who she was, and that, for some reason, makes me feel like a record industry insider. C’mon, I sit in law school classes all day… I have to keep my dreams alive somehow.

Anyway, the story is this. My boss, Josh, went to the Sundance Film Festival last winter, and when he came back he told me about the celebrity and semi-celebrity people he had hung out with, one of whom was this up-and-coming young singer named Sara Bareilles. I had never heard of her, and I wasn’t particularly interested to find out about her or her music. I was more into the stories about how Josh kept running into Tara Reid. A few weeks later, a song coming from Josh’s office caused me to freeze at my desk and drop whatever it was I was doing… I was literally just sitting there in a daze, listening to this song. Josh always played music, and I would always listen to whatever he had on. Usually it was new Sony artists, which was cool, because then I could check out then-unreleased new music. Some of it I liked, some of it I didn’t, and either way, the songs would often spark some good conversations about music in general. But this was just weird. It was something that I never would have thought would hit me so hard. Female singer, soft piano chords, faint strings in the background… no drums, no bass… very stripped down, and very simple. But it was incredible. It was the complete opposite of everything I had been hearing out of popular female artists for so long (I promised no bashing on this page, but the likes of Fergie can make people want to quit music and never come back).

So I walked into Josh’s office, looking astonished I’m sure, and asked him who this voice belonged to. He told me it was Sara Bareilles, the girl he had told me about from Sundance. Well I felt a little stupid. But nonetheless, I asked him to play the song again, and we just sat and listened. Amazing voice. Not overpowering. Not impressive because of the range and improvisational ability… but because it was strong, and clear, and clean, and real. Her piano keeps the harmony and the rhythm, while her voice holds the melody… the strings fill in the rest of the sonic space, and really no more is needed. The lyrics were poignant, but not overdone. A love song, but not one which leaves you feeling lost. You can connect. Everyone probably can. And thankfully so. I hate love song lyrics that either don’t touch you at all, or are just so vague or cheesy that you don’t even want them to touch you. When I heard this song I was just really taken back that people even sang like this anymore. We concluded that the song was perfect, and that Sara Bareilles was going to make it. I’m sure Josh had concluded that long before, but for me that one song sold me.



You’re probably getting annoyed, going “well, what the hell was the song?” Well, it wasn’t “Love Song.” In fact, I didn’t even hear “Love Song” till months later when Josh finally got me a copy of her 3-song EP. I had annoyed him about it for quite some time because I wanted to play it for people so they could affirm to me that this girl was as incredible as I thought she was. I just wanted that one song.

“Gravity.” That was the song. That was where I found Sara Bareilles and renewed my faith in the idea of the musically talented young female artist, out there singing and playing as a real musician and not a fake, marketable commodity. I hope so much that the producers of her album didn’t take the beautiful version of that song from her EP, and change it and “pop”-produce it to make it more radio-friendly. I haven’t heard her full album, but I have at least checked the 30-second sample of the song on iTunes. It seems to be the same version. However, I can’t make any promises that the “Gravity” on the album is the same exact incredible one that I own. I certainly hope it is.

I’m normally not one for ballads, or slow love songs, or soft piano music… I like faster, funkier, bassier things… and quite frankly, that for me is what makes this girl, and this song, that much more impressive. Right? The real impressive artists are the ones who get to everyone… the ones that you just can’t help but feel their music. And that’s not to say that all of you who read this will find this song as impressive as I did/do. But if you are willing to take the time to check it out (and dudes, if you’re willing to be comfortable enough in your masculinity and sexuality to admit that you like a song that features a girl with a piano, singing a soft ballad) then I think you will find that there is something different, unique, and definitely refreshing about it. At least that’s what I found. So give it a listen and see what it does for you. Enjoy your weekend all. Go Giants!

Those '70s Songs

The soundtrack to my 2008 has started out with a very odd collection of music. I have my sister to thank for this. Being a lover of the iTunes Gift Card, she essentially provided me with $25 worth of random song choices that I never otherwise would have spent money on. But hey, it’s a pre-paid card, so it’s almost like it’s free! So since there was nothing new out there that I was dying to have, and since I am terribly impatient, I went on a spree for a bunch of titles that I had always thought once or twice about, but never actually followed through with.

The results of these purchases have been extremely interesting. I have two CD’s of burned music spanning numerous decades and genres, and for the life of me, I cannot stop listening to them. And while there are some good ones on there from a couple of current popular bands, I must admit that it’s the old school stuff that I can’t stop playing on repeat.

Now if you know me at all, you know that I naturally love the funky sounds of the 1970’s, and thus my attraction to songs from that period wouldn’t be all that shocking. But this was different. I went for stuff that I either didn’t know all that well, or I had some unflattering preconceived notions about. And while I found almost all of these forays to be positive, there were two bands that really sparked me: Steely Dan and Funkadelic.

Steely Dan? Yes, Steely Dan. Until recently I had always thought of them as a classic rock band. I will blame that on the incessant playing of “Reelin’ In The Years” and “Do It Again” on classic rock radio (though I do really like both of those songs). And due to my usually lukewarm feelings about classic rock radio, I just lumped Steely Dan into a group of bands that I wouldn’t be crazy about, and dismissed them altogether. However, a small clip from a rather funky Steely Dan tune in an entertainment law class got me curious, and I finally decided to probe further. These guys could not be any further from ordinary classic power rock. They blend jazz, funk, and rock into a style of music that can only be characterized as way ahead of its time.



The coolest thing about them though, is their story. Steely Dan was not even a real “band” in the traditional sense. It was (is) just two guys really. They were two musicians, named Donald Fagen and Walter Becker, who were hired as staff songwriters for ABC Records back in the late 1960’s. They weren’t all that successful though, because the stuff they wrote was usually too complex for any other artists to competently play. So they created this entity called Steely Dan, where they could properly record their music, with the two of them as the main performers. But what wound up happening was that with the exception of the main vocals and the keys, generally speaking, everything you hear on Steely Dan records is done by legendary professional studio musicians. Fagen and Becker hired only the best of the best to record their songs. As a result, their recordings have long been heralded by icons such as Mick Jagger (Rolling Stones) and Jimmy Page (Led Zeppelin) as being some of the tightest and cleanest sounds in music. They weren’t a band, so much as two gifted brains, and a slew of immensely talented hired guns. But hey, it worked. Their music captures the funk and soul of the 1970’s, and wraps it neatly inside the rock n’ roll sounds of the same period. As such, when you listen to Steely Dan songs, you can find jazzy bass grooves laid down underneath wailing guitar solos, and yet be amazed by how well it all fits together. Check out the album Aja. It’ a classic.



If Steely Dan captured funk in a neatly packaged form, then Funkadelic was definitely the loose, sloppy, wild style of the day. Led by the legendary George Clinton, Funkadelic was the sister group of Clinton’s more popular band Parliament (though this popularity claim is debatable). I have long been familiar with the sounds of Parliament. Songs like “Flashlight” and “Give Up The Funk” are funk standards, and are unapologetically fun and catchy. Funkadelic though, struck me as a deeper, more complex-sounding group that I wasn’t really interested in taking the time and brain power to examine. But again, thanks to gift certificates, I took a shot.



I was right. It is deeper. It is experimental and cutting edge for it’s era. It might not be as pop and disco oriented, but man is it impressive. It truly is deep, dark, almost psychedelic funk, at its finest. All things being linear, you can easily see how closely the hip-hop music of the past decade drew from the music of George Clinton and his bands. I like to think that Clinton’s bands, along with groups like Earth Wind and Fire, took what James Brown started, and ran with it. And while many of those groups went on to invent dance hall classics, Parliament and Funkadelic went with an unbridled sound that was so loose and groovy as to almost be scary and offensive. As far as I’m concerned, it’s great stuff, and highly underrated. Give it a listen if you’re feeling open-minded.

So I guess this whole rant is just a bit of advice to not forget the music of yesterday. For those of us who weren’t around during the ‘60’s and ‘70’s, we know about some of the stuff that came from those eras, but mostly only the stuff that was popular enough to stay on the radios and turntables all these years. There is still a ton of great music out there that has simply faded into obscurity. Go find it! Otherwise you’ll miss out on great stuff that was there all along. If you too have a sibling who loves giving iTunes gift certificates, take a shot on some random old stuff. You might be pleasantly surprised.

Song(s) For The Week: Peg by Steely Dan, and Cosmic Slop by Funkadelic. “Peg” has an infectious groove to it. It seems cheesy at first listen, but give it time and I bet you’ll be humming and singing away. The hook is reminiscent of (and was probably sampled by) countless early ‘90’s hip-hop songs… at least it seems that way to me. Bass legend Chuck Rainey makes the whole thing groove so incredibly well… especially the chorus. “Cosmic Slop” is just plain dirty. I love this song so much. Garry Shider, not George Clinton, handles lead vocals here. It’s the perfect example of that deep, loose funk that almost sounds like a haunting song more than a dancing song. Check them out and enjoy!

*One last note. I forgot to properly thank my very good friend Shelby Parnes in my first post. She writes a wonderfully interesting food blog called “Shelbs & Cheese” and she was a huge inspiration for me even deciding to do this. She is an amazing friend and person, and a damn good writer too. Check her page out (link on the right side of this one).

So Here I Am...

After quite a fair amount of bashing so many internet fads like Facebook, and MySpace, and online blogs, I have decided to stop hating and join in. This is my blog. It is all about music. It may interest you, or you may think it sucks. I make no guarantees.

The thing that has always bothered me about blogging, is the amount of harsh critiquing and passing of judgment that people will often engage in. Who are these anonymous people sitting behind laptops, writing for all to see, about how much a certain band or album sucks? What makes them the authority on good or bad sounding music? I just never understood it.

Nonetheless, I’m not here to preach about moral wrongs in blogging. I only bring that point up to say that I’m not interested in engaging in that kind of stuff. There’s a lot of music out there that I don’t like, but that tons of other people do like, and I respect that. You have to. Everyone has different tastes, and I believe in always trying to keep an open mind when it comes to various musical styles. You’d be surprised how much good music we all miss out on by being narrow-minded. So to that end, I will try not to engage in any sort of bashing of genres, bands, songs, etc.

Also, I’m not going to act like I know everything (or anything for that matter). I’m not a professional musician, and I don’t have a degree in music. I am just a guy who lives and breathes music… always have. I love playing, listening, and especially talking. That’s why I wanted to do this. I want to share my thoughts with other people on the thing I am most passionate about.

So I hope that those of you who take the time to read my posts will like them, and/or find them interesting. I am going to try as much as I can to talk about things that aren’t as common or well-known, but I reserve the right to ramble on about how much I love the Red Hot Chili Peppers and James Brown. I am going to try to post as often as I can (at least once or twice a week), but I’ll work that out in time. Check back soon, and enjoy!