Tag Archives: Rock

Dog Songs – Vote for Your Favorite!

3 Jun

Tully

 

This is Tully. Say hi to the Music Court community, Tully. As I type this, Tully is nestled into a ball with his head on a soft, green pillow. He is adorable. The picture is worth more than my words.

As you might have deciphered from the opening to this post, I adopted a dog! Thus, I have been solely in a dog mood over the past few days. Musicians are often in dog moods. Whether it are songs about dogs or song titles/ideas that use “dog” in popular sayings or with different connotations, dogs often find their way into popular songs of all genres. Off the top of your head I’m sure you are already thinking of 1-2 songs you know that have the word dog in the title.

In line with my puppy mood, I bring you the first Music Court poll in months. There are a plethora of dog songs in the vast musical catalogue of life; what song is the best? First, let’s fetch some songs.

 

1. “Hound Dog” by Elvis Presley

This is the version most are familiar with, and it is hard to argue that it is not the best recording of this Lieber and Stoller classic. Originally recorded in 1952 by “Big Mama” Thornton, “Hound Dog” has transcended decades and has garnered a long list of cover versions (included Elvis’ 1956 cover) and popular media references. Contrary to the lyrics though, I will certainly feed Tully!

 

2. (How Much Is) That Doggie In The Window by Patti Page

I had to. Tell me you don’t think of this song when you walk by the window of a pet store! Written by Bob Merrill (also wrote “Mambo Italiano”), the song was most famously recorded by Patti Page, and I first heard it through Kidsongs (my pre-kinder source for all music).

 

3. “I Love My Dog” by Cat Stevens

Because the song includes lyrics like the following:

“I love my dog
As much as I love you
But you may fade
My dog will always come through”  (Note: I love Tully and my fiancé very much)

4. “I Wanna Be Your Dog” by The Stooges

Oh, Iggy and your Stooges. Recorded in 1969, “I Wanna Be Your Dog” is a quintessential example of the budding hard rock/punk movement that would sweep the music world for the next two decades (and beyond that if you count the 90s, 00s, and 10s). The song was produced by John Cale of Velvet Underground fame. The Velvet Underground is often cited as the grandfather of punk. No coincidence there folks.

 

5. “Black Dog” by Led Zeppelin 

Classic Zeppelin riff over lyrics inspired by a sexually promiscuous retriever that would amble around the recording studio. It also has the mark of a Zeppelin song that was not stolen. Haha. I kid. I kid. It’s a killer riff.

 

6. “Dog Days are Over” by Florence and the Machine 

Florence Welch, otherwise known as the goddess (according to my sister), took a commanding hold of the Indie/Art/Pop genre with the release of her first two albums (Lungs and Ceremonials). “Dog Days are Over” is featured on Lungs, which is a tremendous first release.

 

7. “Martha My Dear” by The Beatles

Wild Card! This jaunty Beatles tune was written by Paul McCartney and most likely inspired by his sheepdog (named Martha), although it was probably about an old love interest. It, like all Beatles songs, is excellent.

 

 

There you have it. What is the best bark – I mean, song! Vote below.

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Live at The Cafe Au Go Go – The Blues Project

25 Apr

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During a four-day stretch of concerts in November of 1965 at the revered Cafe Au Go Go, a band of New York-based blues musicians recorded its first album. The club, which was the first New York venue for the Grateful Dead, also featured an often weekly collection of uber-talented blues artists entitled the Blues Project. I mention the Dead because the Blues Project was known as the New York response to the Grateful Dead, which was also a collection of incredibly talented blues musicians. Unfortunately, the Blues Project lacked the staying power and fell into 60s music history – although two members did form Blood Sweat & Tears. I bring the band back today on the Music Court because the debut live collection of covers is a sparkling example of true 60s blues music that engendered the propagation of the genre stateside.

The Blues Project was a jam band at its finest. The album was actually a cut version of several longer covers of famous blues songs like “Back Door Man” and “Goin’ Down Louisiana.” These covers were fresh and inspirational, as several British blues musicians would also come to cover these songs with similar aptitude. The big three members of the Blues Project were guitarists Danny Kalb (also vocals) and Steve Katz and organist Al Kooper. Tommy Flanders kicked in some vocals, and the band also included Andy Kulberg on bass and Roy Blumenfeld on drums. Al Kooper actually joined the group after its failed audition for Columbia Records; Kooper was a session musician and liked what he heard. It didn’t take long for the band to secure a record deal with Verve Records and record its first album. 

So, let’s talk a bit about Live at the Cafe Au Go Go. One of the interesting components of the album is that it blends classic 60s folk with pre-60s blues. For example, The Blues Project performs a version of “Violets of Dawn,” a piece by Greenwich Village folk staple Eric Andersen.

The piece is quintessential psychedelic folk, which was developing at the time with bands like the Byrds. The mellow song features a bright guitar that provides a consistent lead while the percussion and bass hold down the subdued rhythm. It’s the type of song that does not stand out to the listener but easily flows like a narrow stream. It’s hard to believe that the next track on Side 2 of the album is a version of Willie Dixon’s “Back Door Man,” which sounds like this:

Just a killer version of this classic. It moves with vigor: effortless percussion, whining blues guitar, efficient bass, and fitting vocals. It is gritty and more true to real rock n’ roll blues. It also demonstrates The Blues Project’s ability to successfully swap between folk and rocking blues with ease. A truly talented band that deserved more listerners and success.

 

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Best Performance at the Grammys 2014

27 Jan

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While I’ve made my thoughts about the Grammy Awards clear before, I did happen to catch most of the show last night while I did some work, and, unlike in year’s past, the show actually sustained my attention and did not make me apoplectic. The big winners of the night were Daft Punk, Lorde, and Macklemore + Ryan Lewis, and I was perfectly fine with those artists cleaning house. Why? Musical aptitude. Simply, they are all talented, and I am a sucker for when musicians with actual talent are provided with awards – unfortunately, this is not usually the case. But enough about the awards. While the Grammys is an awards show (it is right there in the name), we all know that people tune in to see the eclectic pairings of music superstars perform to a crowd of awkward Taylor Swift, old Yoko Ono shoulder dances, robots, and Sir Paul. And while I was a bit angry that the Grammys did not have a performance tribute to Lou Reed – one of the most important musical figures in the rock era – most of the performances were on target. Of all the unique performances of the night, my choice for best moment may surprise some of you.

Was I the only one who though Metallica and Lang Lang absolutely killed it? “One” is a pretty sick song, and it does feature  one of the greatest breakdowns in metal history. The addition of Lang Lang’s frenetic concert piano added an odd and appealing element to the piece, and the solo exchange was on target and such a pleasure to listen to. Perhaps the performance was my favorite just because it was so darn heavy. The award show (which ended late) had been dragging on a bit, and Metallica woke every viewer (and audience member) up with this performance.

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Ryan Martin is NOT a Hard Man to Love

20 Jan

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Ryan Martin is a musician’s musician. Originally from Los Gatos, California, Martin, a soulful singer-songwriter, moved to New York City and since the move has done everything possible to keep climbing the mountain to reach the musical zenith. Music is often viewed from the rose-colored glasses of the listener. We don’t realize how assiduous and indefatigable musicians need to be to get by in the industry. To succeed – well – it often seems impossible.

But when you have the ability you just know that you must stick at it and do what is necessary to drive yourself forward. It is the one instance of artistic intransigence that is essential. Martin has worked as, “a former pipe salesman, doorman at a tourist bar on Bleecker Street, mover of furniture, bar-back at a debauched Chelsea bar, campaigner for impoverished children, and cash register operator at Trader Joe’s” (Facebook page). He has slept on couches and in his car … until he had to sell it. All of this led up to his debut release – For All the Beautiful Losers – and the tireless effort put into getting to this point seems well worth it.

The album features a dozen delectable tracks that feature sincere depth, wayworn lyrics, and Martin’s gravelly, southern soul vocal. The music plays with several elements – combining the sultry sound of summery country with deep soul and eclectic piano. It is euphoniously complex. I enjoy music that hits you at all different angles, and Martin’s tunes do that.

“Hard Man to Love” lays down a concise rhythm over an effervescent keyboard. The track moves like an Amos Lee piece, slow but sure. The pre-verse guitar riffs are keen. The vocal is tight. There is some swooning country. There is a taste of sweet harmonica. The song is just so rich. And, if you hadn’t had enough, Martin employs a falsetto and strings to end the piece. Very impressive.

“Little Tramp” is just as complex as “Hard Man to Love.” Martin interweaves horns and guitar effortlessly, but still maintains this country-esque feel – almost like a Jay Nash piece. The music is just so enjoyable to listen to. You want to put the piece on repeat. Heck, there is even a little Springsteen in this ditty. Well done!

Track Martin’s work on his Facebook or Twitter. Check out the album on Bandcamp.

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Headphones, Poplar Trees, and Adam Brock

13 Jan

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In the liner notes of his summer 2013 EP, Adam Brock writes “Everyone finds solace in song, regardless of age and circumstance. I hope this music serves that purpose for some.” Keen statement from the young musician from Oregon. Brock, a multi-instrumentalist with a sensational ear for melody, is the best kept secret in the Pacific Northwest. Heck, he may be the best kept secret along the entire Western coastline. With a whispery vocal that he skillfully layers to the euphonious instruments that he plays, Brock is the sweetest sound in Indie that you are not listening to … but will be soon.

I know I lay down a lot of praise on this blog, but I know when I should particularly highlight an artist. Brock is that artist. He is also humble and unassuming, which is a major plus in my eyes. This is a dude who not only knows music but also puts time and effort into perfecting the intricacies of his tunes. His small selection of music from last year was quite impressive, and it is all available on his Bandcamp for free, so I totally suggest checking it out.

“Poplar Trees” is from his 3-track release in January of last year. The first 30 seconds are a bit deceiving because Brock immediately provides this mystical vocal track that sounds like other Pacific Northwest bands like Fleet Foxes. This, of course, is not a bad thing, for I am a bigger fan of folk harmonies than most, but it is not Brock’s predominant sound. The consequent electric percussion and keys is more of Brock’s scene, and oh my does he sound like a young Death Cab for Cutie, does he not? The early 2000s Indie Pop bleeds from the song. Then, the bottom falls out of it and the song is carried by a halcyon picked guitar and Brock’s sweet voice. It is as the ultimate blend, and it is done masterfully.

“Headphones,” released in June, also maintains that Ben Gibbard sound (almost a minimalistic Postal Service). There is also some Bright Eyes and the Shins thrown in for good measure. Brock knows what he is doing. In this piece he even adds a Velvet Underground-like string section (cello, viola, violin). Honestly (and why would I lie), Brock’s music is excellent. He displays ability far beyond his years. There is only one question I can ask: why is he not touring the U.S.? Let’s make Adam Brock more known.

Check out his Facebook and Website.

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