February 28, 2009
The Church of Jones
ORIGINALITY CORNER
Sharon Jones isn’t retro in the sense so many acclimate the word, she’s not modeling anything. Her style, musically and physically, comes from what she knows, not what she is trying to replicate. Growing up when soul hit the airwaves in the most impressive way, the sweet combination of gospel and funk seeped into her bloodstream and she is unmistakably under the influence of the Godfather of Soul.
Augusta, Georgia must be the mothership for soul singers being that James Brown wasn’t the only one to call this place home. Jones, too, was born and raised there, eventually leaving the south with her family for Brooklyn. Her vocals developed in the church choir and Jones wanted to take what she had learned, perfected, and bring it to the forefront of the music scene. Jones was a studio regular until the 80s happened. Disco balls, spastic horn sections, and primo vocalists became obsolete and she had to take a job as a prison guard. It wasn’t until the mid 90s at the age of 42, did Jones resurface- not retro, classic.
HATE TO ADMIT IT, BUT…
“I’m Henry the VIII, I Am”
Herman’s Hermits
Herman’s Hermits On Tour
1965 | MGM
Herman’s Hermits seem to me to be the ultimate faceless British band, sent across the ocean to capitalize on “Beatlemania.” Sort of the Candlebox of the mid 1960’s: the group’s manager, Mickie Most (again, predating svengalis like Colonel Tom Parker and Malcolm Mclaren) sought to create a clean-cut and non-threatening image for the band. This career pattern garnered Herman’s Hermits a pair of US #1 hits, before the changing musical climate of the 1960’s rendered the group redundant, a novelty. Just like the Beach Boys!
More on Herman’s Hermits | “I’m Henry the VIII, I Am”
HATE TO ADMIT IT, BUT…
“I’m Henry the VIII, I Am”
Herman’s Hermits
Herman’s Hermits On Tour
1965 | MGM
Herman’s Hermits seem to me to be the ultimate faceless British band, sent across the ocean to capitalize on “Beatlemania.” Sort of the Candlebox of the mid 1960’s: the group’s manager, Mickie Most (again, predating svengalis like Colonel Tom Parker and Malcolm Mclaren) sought to create a clean-cut and non-threatening image for the band. This career pattern garnered Herman’s Hermits a pair of US #1 hits, before the changing musical climate of the 1960’s rendered the group redundant, a novelty. Just like the Beach Boys!
More on Herman’s Hermits | “I’m Henry the VIII, I Am”
February 27, 2009
Carole King | “Way Over Yonder”
ART OF SONG
“Way Over Yonder”
Carole King
Tapestry
1971 | Sony BMG
Carole King is widely considered one of the most influential folk-rock musicians, having written a number of ubiquitous classics over her career, including “Natural Woman” and “You’ve Got A Friend.” On her album Tapestry, on which these hits appear, the lesser-known, but equally beautiful track “Way Over Yonder” further illustrates King’s prowess.
King’s sound is an amalgam of rustic grace and gilded grit, drawn from her deft piano playing and bold, lovely voice. Like her fellow female peers Joni Mitchell and Judy Collins, she harnesses her talent in a spirit of sincerity and truthfulness that certifies her individuality. “Way Over Yonder” displays a particularly strong touch of gospel-influenced melody and lyrics. Ruminative and redemptive in scope, it underscores the soulful power of King’s oeuvre.
by Alicia Dreilinger
ART OF SONG
“Way Over Yonder”
Carole King
Tapestry
1971 | Sony BMG
Carole King is widely considered one of the most influential folk-rock musicians, having written a number of ubiquitous classics over her career, including “Natural Woman” and “You’ve Got A Friend.” On her album Tapestry, on which these hits appear, the lesser-known, but equally beautiful track “Way Over Yonder” further illustrates King’s prowess.
King’s sound is an amalgam of rustic grace and gilded grit, drawn from her deft piano playing and bold, lovely voice. Like her fellow female peers Joni Mitchell and Judy Collins, she harnesses her talent in a spirit of sincerity and truthfulness that certifies her individuality. “Way Over Yonder” displays a particularly strong touch of gospel-influenced melody and lyrics. Ruminative and redemptive in scope, it underscores the soulful power of King’s oeuvre.
by Alicia Dreilinger
TOP DOG
The Yeah Yeah Yeahs’ third LP comes out this April on Interscope, titled, It’s Blitz. Fabelhaft! The Yeahs tell Spin.com that Giorgio Moroder inspired them to go Donna Summers on us and you will likely hear synths doing the jobs of guitars. And Karen O still loves to dance, despite rumors that she’s grown up.
More on Yeah Yeah Yeahs: It’ll Never Be 2003 Again
February 26, 2009
The Minus 5 | Down With Wilco
HIDDEN GEM
The Minus 5
Down With Wilco
2003 | Yep Roc
The Minus 5 is the main songwriting outlet of Scott McCaughey, better known as R.E.M.’s touring guitarist and former leader of the Young Fresh Fellows. Starting in 1993 with a release on They Might Be Giants’ John Flansburgh’s Hello CD of the Month Club, The Minus 5-mostly McCaughey and R.E.M.’s Peter Buck, with an ever-changing lineup around them-have been quietly releasing solid (if kind of repetitive) records for nigh on 20 years, to little or no fanfare. What’s funny, though, is that there’s one record that should have garnered a little more attention, if only for when it was made, and with whom.
More on The Minus 5 | Down With Wilco
HIDDEN GEM
The Minus 5
Down With Wilco
2003 | Yep Roc
The Minus 5 is the main songwriting outlet of Scott McCaughey, better known as R.E.M.’s touring guitarist and former leader of the Young Fresh Fellows. Starting in 1993 with a release on They Might Be Giants’ John Flansburgh’s Hello CD of the Month Club, The Minus 5-mostly McCaughey and R.E.M.’s Peter Buck, with an ever-changing lineup around them-have been quietly releasing solid (if kind of repetitive) records for nigh on 20 years, to little or no fanfare. What’s funny, though, is that there’s one record that should have garnered a little more attention, if only for when it was made, and with whom.
More on The Minus 5 | Down With Wilco
