WordPress has just prompted me that I first signed up for a blog four years ago yesterday. Four years! Wow. The Music Court has persisted to the tune of more than 1,000 posts. That translates to around 250 posts a year. Originally, The Music Court started at the behest of my brother who urged me to start a music blog. On May 26, 2009, I wrote a brief “Harmonious Goal” – a musical edict – that I still follow:
“Music expresses that which cannot be said and on which it is impossible to be silent.” It comes to no surprise that this truthful quotation was spoken by Victor Hugo whose most famous work has itself delved into the wonders of song. It is indeed impossible to be silent about good music and we, as your trustworthy jester, will introduce, review, and reflect on all tunes, notes, lyrics, and melodic sounds. The jester and his lute to the rocker and his guitar; music is life and life forever will be encapsulated in music
And just like that the Music Court was born. I envisioned developing a diverse supply of creative 60s posts and new music/band reviews. I am happy to report that I have not strayed from my original goal. While, at times, I admit the blog has fallen into doldrums (because of time constraints and lassitude), I hope that I have been able to provide readers with fresh perspectives on music. I hope that my ardor for all things music has been appropriately evinced in each of my posts.
When I started this blog, I didn’t want to simply embed a song in a post, write a brief 20-word synopsis, and urge the readers to listen and enjoy. I attempt to provide useful commentary, impassioned thoughts, and some written intellectual music fodder for all readers with every post I write. I love music. I love to write. This blog has been a labor of love. I thank you all for your continued support and look forward to continuing this musical journey with you!
As for the first real post…I go back to Lyric of the Day #1 (Edited).
“Here Come The Jesters, 1 2 3″ – “Rock and Roll Fantasy” by Bad Company off of the 1979 album “Desolation Angels”
C’mon. What else would you expect for the opening lyric of the day from the Music Court? Did you know that Bad Company’s first lead singer Paul Rodgers played with Micky Moody in Free. Micky Moody later went on to Whitesnake fame. It makes me ask the question: was Rodgers the first inspiration for Tawny Kitaen’s show on David Coverdale’s Jaguar in the power ballad “Here I Go Again.”
I was shocked when I heard Ray Manzarek passed away earlier this week. Really shocked. Still sort-of shocked. As I was listening to some musicians reflect on the tremendous career of the former Doors’ keyboardist, I tried to understand why I was so surprised. He was 74. In 2013 that is young, but he did fight a long battle with cancer. I think my shock was a product of a Manzarek-Krieger concert I saw at the NYCB Theater at Westbury in 2011. I had seen them once before with my father and brother when Manzarek and Robby Krieger went by the moniker Riders on the Storm. Considering that Riders on the Storm sounds like a cheesy cover band, it is probably a good thing the formers Doors’ members chose a band name of their last names.
Not many people know (or can envision) that The Doors played Westbury Music Fair (the former name of the current NYCB Theater). The Doors, one of the most celebrated and influential rock bands to come out of the 1960s, played a small venue less than a 5k from my house. Manzarek and Krieger celebrated their grand return to Westbury by recreating the set list from their April, 1968 show. It was electric. At the conclusion of the effervescent concert, the band played “Light My Fire.” Here is what I wrote about it back in 2011.
“Think of everything you love about The Doors – the energy, sexiness, ruthlessness, originality, togetherness – and throw it into a pot of boiling liveliness and love. Let that boil for around a 20-minute epic performance of “Light My Fire” that neared mystical levels and you have a great performance. Manzarek stood up from his stool, kicked it over, and swiftly put his right foot on the keyboard! 72 years old, my ass.”
That’s why I am still so surprised. His vivaciousness was striking. His effusive passion for the music was alive and well. While Jim Morrison was the soul of The Doors, Ray Manzarek was the mad genius behind the scenes concocting keyboard riffs on his Vox Continental. But when he got out on stage, it was clear that Manzarek was in love with the music the band was creating. If you have been listening to any of the eulogies of Manzarek over the past few days, I am sure you have heard words like “genius” and “master.” Sometimes these words are thrown around loosely. In the case of Manzarek, though, it would be unwise to understate his musical ability and perspicacity. Every member of the Doors was supremely talented. That is one reason why the band created keen, genre-bending music that appealed to the masses and maintained its canny flavor. But, if it weren’t for Manzarek’s proficiency with the breathy and psychedelic Vox Continental combo organ, low-pitched keyboard bass, and other keys, we may not be speaking about the Doors.
I include “Light My Fire” not because it is my favorite Doors song (that title is reserved for “Roadhouse Blues” or “Waiting for the Sun”) but because of the renowned organ intro. It is arguably one of the best known keyboard riffs ever. It is a riff of pure afflatus. While this may sound overly simplistic, there is just something so introductory about it. Without the riff, the song would not have the same potency. Manzarek’s work on keys on “Light My Fire” was a microcosm for how much he meant to the The Doors. As the elder statesman of the band, Manzarek also acted as an intellectual and sagacious force.
In the wise words of the Doors (from “When The Music’s Over” off of Strange Days):
So when the music’s over When the music’s over, yeah When the music’s over Turn out the lights
Let’s be realistic. This has been an unsuccessful season for the declining singing talent show, American Idol. After 12 seasons it seems that the show is losing touch with the viewership and the loss of ratings evidences this theory. The show is formulaic, almost intransigent in its weekly routine. Superficially, there have been some changes to how the results are revealed, for example, but these are not extensive. It seems like I am a bit captious in this brief synopsis, but after so many years of watching the show I’d love to see American Idol transform with the times. The basic structure will always be effective and enjoyable, but the show needs to do a massive re-haul of the judges (which seems to be happening) and the creative content.
For the most part, Season 12 of American Idol came down to two singers. Putting aside the sycophantic, effusive praise machines that were the four judges this year and the top 10 that was almost completely devoid of talent, the show was saved by two vocal powerhouses – one a gritty country vocalist and the other an Aretha Franklin-like, soul superstar. Back on March 11 when I made my predictions for the Idol Top 10, I went on the logic that these two singers would be in it until the end, and I am happy to report that I was accurate in my guess. Kree Harrison and Candice Glover make up your final two.
Of all of my predictions, I was most wrong about Amber Holcomb. I initially viewed her as a throw-away contestant who would be the first eliminated in the Top 10, but she made it all the way to 4th place. This was more of a testament to the lack of talent among the top 10 than her own ability. For some reason the judges gushingly extolled her like she was the second coming of Beyonce. Holcomb’s voice only worked in the lower register, and when she tried pushing it higher she was invariably flat. Yet despite her clear inability, the judges praised her with impunity. It was strange. Sometimes it felt like the judges were listening to another artist.
Back to Kree and Candice. Who will win? In my initial predictions I chose Kree. The country audience is just so strong. Now, I’m not sure. Candice has proven that her voice is freakishly good. She is a vocal spectacle. It is an absolute wonder to listen to her sing. In March I compared her with Jennifer Hudson and said her “big voice should help her sail through the competition.” It may help her win it. Check out her performance of “Somewhere.” Just mind-blowing.
Kree “has rangy chops and her voice just fits today’s country music scene.” I agree with my assessment from March. She has displayed her relevance and ability. It would not surprise me if she made good on my March prediction and won Season 12.
Ultimately, though, I will be happy with whoever wins, and it will be good to see “American Idol” have its first female winner since Season 6 and first all-female final since Season 3 when Fantasia won.
Kwesi Kankam is an eclectic musician. Born in Anchorage, Alaska, Kankam (who is of Ghanaian descent) moved to Toledo, Ohio where he was raised. Kankam received a football scholarship to Lehigh University, but his love of music eventually got behind the tacklers and sacked him (hooray for awful football analogies!)
I mention Kankam’s interesting past because his music reflects it. Kankam’s diverse soul-influenced folk encompasses multifarious simplicity. Before you call me out on this contradictory juxtaposition of words, let me explain.
Kankam’s music features everything from orchestral strings to Africana beats to horns, but, ultimately, when stripped down to its bare roots, the music is simple and calm like a relaxed pair of jeans. It is Kankam’s airy, light-hearted croon and an acoustic guitar.
Ultimately, no matter how much music you add to the background, the artist must be a proficient singer and there needs to be an instrument like a guitar or a piano played well. Kankam excels at both.
“Brunettes,” my favorite track off of Kankam’s debut EP, Ran Away From Me, which was released in March of last year, begins with Kankam and his acoustic guitar – quickly drums and keys are added. Kankam’s voice is a sip of hot cocoa in a cozy coffee shop. His smooth croon is one part Danny O’Donoghue, one part Ben Harper or Joe Pisapia. The vocal inflections are skillful, and his layered melodies are wonderful. The repeated riff stays true to the piece as Kankam manipulates the sound with tiny electric guitar segments and creative keys. Tap your feet. Sip your cocoa. The song makes you as comfortable as reclining in a La-Z-Boy.
“Long Days, Short Nights” features eclectic rhythms and instrumentation (almost like a Dave Matthews song) that create a worldly atmosphere. Think rooty folk mixed with modern Indie folk – sort of like Rusted Root mixed with Calexico. The mixture is euphonious and Kankam’s voice fits the music to perfection. Best of all, despite that the song is almost 5:30, I never felt bored. The music flows like water in a small creek, and, like “Brunettes” it is infectious and easy.
New season. New judges. New top 10. Same show. American Idol is now in its 12th season, and, while it has experienced a drop in ratings, it remains one of the most watched singing competition television shows (a distinguished title, I know). Many have given up on the show claiming it has jumped the shark more times than Fonzi said “Eyy” over the course of “Happy Days,” but I remain a loyal viewer. What can I say; I’m a creature of habit.
If you are a Final 10 viewer (a person who only watches when they are down to the good people), it’s time to turn on the television and tune into the show. You haven’t missed much. Randy Jackson is still on the panel. My father made the perfect analogy when he said that Randy is most similar to a guy who should have left the party several hours ago and now different people have shown up and he is just out-of-place. Mariah Carey represented the big catch this season for show producers. Her voluptuousness has nearly fallen out on several occasions, and her affected speech is vexatious. That being said, she seems to care and she isn’t too bad. Nicki Minaj has surprised me. I thought she would be gimmicky, and, while eccentric, she gives solid criticism (often the most vocal criticism) of the bunch. Keith Urban must think he has hit the jackpot. He genuinely loves the show and the singers on it. Ryan Seacrest is still your indelible emcee, and he is damn good at it.
By now, I have mastered the art of watching the show in 20 minutes. I tape it and fast forward through the nonsense. Some would say that means I must fast forward through the entire show, but, it just means the commercials, monologues, judging, and the awful performers (listen to a few notes and you know if the performance will be good or bad).
PREDICTIONS and REVIEWS:
The Top 10 (In Order from 10th place to 1st place):
10.) Amber Holcomb
Amber was the one throw-away girl choice. There were four girls that deserved a spot. There was one more spot. It went to Amber. She is a cheap Beyonce impersonator with a weak voice and a pretty face. She will be out of the competition faster than you can say her name. She does get to tour with the top 10, though, so, that’s a cool consolation.
9.) Paul Jolley
Similarly, there were four guys who deserved a spot, and Paul Jolley was the “oh well, we need five people in this group.” He does have a nice voice. It’s…nice. He’s obsessed with Carrie Underwood. He won’t make it far.
8.) Lazaro Arbos
Lazaro has a great story. His crippling stuttering does not affect his singing – a smooth balladeer style. The story will only carry him so far, though, and his voice, while good, can certainly become a little boring. I predict a few average performances and an exit in the eight spot.
7.) Devin Velez
Like usual, after the first few out, things get a little muddled up in the middle of the pack. This is tough to predict. Devin has a beautiful voice. He sings in English and Spanish and possesses an intriguing performance quality that can keep him in this show through the long haul. Unfortunately, I see him losing a bit of luster after the first few weeks of top 10 shows and falling into the trap of forgettable. Can he make it further? Of course. He may be a top five candidate. For this incipient prediction, I’m choosing him to leave in the seventh spot.
6.) Angie Miller
A true dark horse. Angie represents the Indie music crowd. She thrives behind the piano and is fit with a powerful voice that can, with the right songs, propel her to a higher final spot. Despite her clear Indie sentiments, Angie may be able to break through into the mainstream. She is pretty. She has a powerful voice. She plays an instrument. These are all good things.
5.) Curtis Finch Jr.
The oldest member in the competition at 24 years old, Curtis may also have the best natural voice. He possesses a rare vocal talent that only few can say they have. His true comfort zone, though, is gospel, and the show has not had a gospel music winner since Season 2. Last season, Josh Ledet, a similar southern Gospel savant, came in third place. This season has three members of the southern soul revival, and I think Curtis comes in third among them. He is the least supportable of the bunch. I know that seems like such an unfounded statement, but the other two gospel-sensitive singers possess an individuality that Curtis doesn’t have. Honestly, though, it’s a toss-up between those three. Can he ultimately make it to the end? Yes. His voice is that powerful. His performance of “I Believe I can Fly” (below) was inspirational. He did some incredible vocal runs. My problem is marketability, and I just don’t see a place for him in today’s musical market. But man can he sing.
4.) Janelle Arthur
Country. Country. Country. Most of the viewers of American Idol love country music. Country wins often. The south wins often. Janelle, a blond-haired, country chick from Tennessee, has the package to win this show. She is pretty. Her voice has a Carrie Underwood twang. She could win. She could also come in fourth and fall short to the other country singer. I see that happening. Why? See below.
3.) Burnell Taylor
Here is the thing about Burnell. He – one of the members of the southern soul revival (the last member is below) – can come in third or eighth. It’s just tough to predict. He is a genuine, Boyz 2 Men type singer. He is humble. His voice is silky smooth (excuse the cliche). He is a true individual, possessing a voice that one of the judges said is distinct and “would know it was Burnell if it came on the radio.” American Idol needs originality, and I think his voice is more diverse than Curtis’s voice. Thus, I choose him finishing at a higher spot. But, like I said, Burnell is a tough man to predict.
2.) Candice Glover
Candice, the last member of the southern soul revival, is a tremendously talented singer with a penchant for vocal strength and bluesy cadence. She reminds me a bit of Jennifer Hudson, and her big voice should help her sail through the competition. While I’m not sure I would label this a “girl’s year,” I do think “American Idol” will have its first female winner since Season 6 and first all-female final since Season 3 when Fantasia won. But, the winner of season 12 will be…
1.) Kree Harrison
Country will win, and its name will be Kree. Countrykree. Kree is not your typical country singer. She adds a southern rock flavor that spices up her performances. She has rangy chops, and her voice just fits today’s country music scene. I can see her laying down tracks that bend country and rock. She can be quite succesful.
The Music Court 