On what would have been Brian Wilson's 83 birthday, I present to you a stunning version of a stunning song. From their fantastic 1999 release "Duo," here are Charlie Hunter and Leon Parker and their take on the "Pet Sounds" gem "Don't Talk (Put Your Head On My Shoulder.)"
I've shared this song a number of times before and I may keep sharing it until you all love it as much as I do.
Happy Birthday Brian.
And what better way to celebrate the man than by drawing attention to a song that most people don't like.
The third track on Side One of McCartney's 1983 release "Pipes Of Peace" is a song that will forever be remembered (or forgotten) for the following lyric:
"I know I was a crazy fool/for treating you the way I did/but something took hold of me/and I acted like a dustbin lid."
That song is "The Other Me, which All Music calls a "synthesized, soft-rock lark." But aside from that "dustbin lid" line, I think "The Other Me" is genius record making.
Here's why:
First, it's hard to beat the melody of the verse, which ends with a lovely four note guitar accent.
The chorus too, has a hook to die for.
Next, Macca utilizes a number of Paulie tricks thoughout, such as that sweet "ooh, WOO hoo" that ends the second verse, or that incredibly confident "hmm uh heh uh" that ends the third right at the 2:45 mark. Or, how about that high harmony on the bridge? He saves more harmony for the third verse. Then, right after the false ending...and who doesn't love a false ending...he takes that confidence to new heights with a couple of "bow de dow, chk, bow de dow, chk, bow de dows" instead of lyrics for the last chorus.
Whimsical? You bet. Maybe a bit too cute, even for Paul? Sure! But these are pluses in my book. It's masterful, and again I'll say, confident record-making.
Few, if any songwriters could get away with a song this lightweight. But it is by no means fluff. In a world of "Yesterdays" and "Hey Judes," we need songs like "The Other Me." Actually, I'm sorry I'm comparing songs. The heaviness of "Yesterday" or "Hey Jude" should have no sway over the brilliance of a pop record like "The Other Me." The latter is by no means a throwaway. It's entirely possible that McCartney tossed that one out while eating a salad, but the mere fact that he could is the point.
Happy Birthday, Paul!
Give Thanks And Praise- The Gladiators
The Monkey Speaks His Mind- Dave Bartholomew
Lysistrata- Utopia
If This Room Could Talk- Sly & The Family Stone
Whisper- Ty Segall
You Can't Stop Her- Bobby Marchan & The Clowns
The Night Was So Young- The Beach Boys
Give Thanks And Praise- The Gladiators
(From an excellent, recently released RSD collection of rare tracks, single mixes and dub mixes, here is the opener from one of the best reggae groups of all time.)
The Monkey Speaks His Mind- Dave Bartholomew
(While continuing to read John Broven's book "Rhythm & Blues In New Orleans," I'm discovering new gems and rediscovering old classics, like this one.)
Lysistrata- Utopia
(Pop perfection from Todd & the boys.)
If This Room Could Talk- Sly & The Family Stone
(We know why this is here.)
Whisper- Ty Segall
(I enjoyed Ty Segall's new one and decided to check out a few of his previous releases before his next three come out by January. This track stuck.)
You Can't Stop Her- Bobby Marchan & The Clowns
(Here is one of the new discoveries from that Broven book, with my new favorite lyric. "You can lead a mule to water, but you can't make him drink. You can send a fool to college, but you can't make him think.")
The Night Was So Young- The Beach Boys
(I maintain that both "15 Big Ones" and "Love You" are as good as anything the Beach Boys released in the 70's. And deep into Side Two of the brilliantly wacky "Love You" is this gorgeous bit of music. Goodnight, Brian.)
I imagine some of you, like me, have been listening to both Sly and Brian this week. I listened to more Sly than Beach Boys because it was easier for me. I have more of a history with Beach Boys music than with Sly. There are too many Beach Boys songs that trigger memories of summer and cousins and Brooklyn beaches and I wasn't prepared to handle that yet. So I did some deep diving with the Family Stone and put this mix together.
Maybe you're as much of a fan as I am and this mix will be just as familiar to you as the band's greatest hits. If you only know the hits, I hope this sends you back to the catalogue for more.
TRACKLIST
Are You Ready
Love City
Let Me Hear It From You
It Takes All Kinds
In Time
Color Me True
I Know What You Came To Say
Shine It On
If This Room Could Talk
Let Me Have It All
Jane Is A Groupee
Crossword Puzzle
Loose Booty
Thank You (live)
Van Morrison has 1000 albums and I could take or leave 980 of them. But there are some truly great ones and a handful that are indispensable. His recent onslaught, 12 albums in 8 years, many of them two record sets, were uneven at best. Some were downright wacky. Still, I love what I love by the man, which is why I am always curious about what's next.
"Remembering Now" is out today and the buzz is worthy, with one review calling it his best since 1991's "Hymns To The Silence," which happens to be one of my favorites. I wasn't expecting much and maybe that's the trick. "Remembering Now" knocked me out.
But what makes a great Van Morrison album these days? Aside from records with a specific theme, like those made with The Chieftains, or those where he takes on one style of music like "Pay The Devil," Van's records don't veer too far off course. The music is always very Van, with a hint of jazz and a touch of soul. As long as he's not spewing garbage set to music, like some of "Latest Record Project Vol.1," even his mediocre records are not totally unworthy.
So why is "Remembering Now" so good? I wish I had a scientific answer, but I don't, other than, it pushed all the right buttons. His singing is great. The arrangements are often stunning. Nothing made me reach for the "next" button. This record played beautifully from top to bottom.
There's a lyric in 'Back To Writing Love Songs" that I alternately hear as "I'm back to writing love songs, they get played at the end of the day" or "I get paid at the end of the day." Either lyric could explain why "Remembering Now" is so accessible.
Who the hell knows? I just know I loved the whole damn thing.
