ART OF SONG
Bon Jovi
“Livin’ On A Prayer”
1986 | Mercury Records

Though some consider it prime fodder for karaoke only, Bon Jovi’s “Livin’ On A Prayer” has withstood the test of time as a great (yes, great) song. Nearly everyone knows the tune, and even non-devotees can belt out the woes of fictional characters Tommy and Gina. The eighties was, in large part, a decade of big hair and over-the-top kitsch for pop-rock, in which Bon Jovi often partook, as can be seen by Exhibit A (“Bad Medicine”) and Exhibit B (“You Give Love A Bad Name”).

The sincerity with which “Livin’ On A Prayer” was written and is performed is what makes it stand out from the proud natives of New Jersey’s other well-known songs. Jon Bon Jovi particularly shines on this second single from the band’s classic 1986 album Slippery When Wet. It highlights his serious vocal range, one that he has repeatedly put to good use throughout the years. More generally though, the tune proves the band’s undeniable competence – once listened to afresh, in its original form, away from the musak-ish versions that drunken karaoke participants have so consistently butchered.  Guitarist Richie Sambora and percussionist Tico Torres shine, providing depth with their well-honed chops. And, though mildly tinged with the cheesiness typical of Bon Jovi, it has a great (yes again, great) melody and warmth, proving why Bon Jovi is still around.

by Alicia Dreilinger

A particularly epic performance of “Livin’ On A Prayer” from the 1987 MTV Awards:

ART OF SONG
Ratt
“Round and Round”
Out of the Cellar
1984 | Atlantic Records

Even the most serious fan occasionally desires a hiatus from music that aims to evoke, provoke, and pioneer. Every now and then it’s okay to flout the purported risk of developing intellectual cellulite, and shamelessly watch bad television, eat Doritos, and enjoy light-hearted songs. Glam rock band Ratt’s biggest hit “Round and Round,” from their 1984 album Out of the Cellar, provides such blissful digression. Vocalist Stephen Pearcy’s howling has proven one of the track’s most lastingly recognizable ingredients. So, too, has the catchy, hair band-ish melody, driven by strong guitar, loud drums, and playful irascibility – all of which reek of both old, pre-reality show pestilence-ridden MTV (R.I.P. poor, old MTV) and dive bars that play homage to the channel’s original spirit. With “Round and Round,” Ratt indulges in a vaudeville-like showmanship that entertains while still offering a solid grounding of real talent. Check out the music video, for a fun break from angst and esoterica:

by Alicia Dreilinger

ART OF SONG
Katy Pfaffl
“Two Apples”
If I Rise
2007 | Self-released

Contemporary love songs tend to register as either fun and saccharine or earnest and wistful. Serious musicians often opt for the latter combination, in an effort to eschew the deadening former, when crafting songs regarding this most universal of all topics. Otherwise, they risk accidentally delving into formulaic approaches that regurgitate trite lyrical and compositional standbys. Heavily pop-influenced tunes, in particular, tend to fall prey to this dilemma. But where are the new, straightforward love songs like those of the past? Those that remark on romance with both good favor and elegance?

Katy Pfaffl’s “Two Apples” fortunately manages to retain its integrity while being an unabashed, gentle-natured ode to affection. Both the melody and Pffafl’s voice imbue the song with a caramel quality, a smooth richness similar to Roberta Flack’s best. It also highlights the great creative range of Pfaffl. Guitar and voice float along together, with a beauty that begets repeated listening. For a much-needed alternative from the usual callow or morose, check it out.

by Alicia Dreilinger

www.myspace.com/katypfaffl

Katy Pfaffl performing “Two Apples” for fans on Valentine’s Day:

LOCAL SPOTLIGHT NYC
It’s always a pleasure to discover new pop music that excites – because, so often, at best it succeeds at being merely pleasant and chummy. Fortunately, singer-songwriter/pianist Todd Alsup proves that some pop can still transcend the suspect platitudes most listeners have come to expect. Alsup accomplishes this by balancing his serious musicianship – his piano chops have merited a sponsorship by Yamaha – with a hint of gentle playfulness.  Consequently, his talent never feels forced upon the listener. Rather, his songs shimmer with warmth, allowing them to be pensive and personal without ever teetering on standoffish and insular. He admixes into this recipe his significant vocal range. He hits the notes right, with an integrity equal to that displayed by his piano playing. In addition to venues outside of the city, Alsup frequently performs around town at places such as Rockwood Music Hall. As his career keeps galloping forward, be sure to check out its vital velocity.

by Alicia Dreilinger

www.toddalsup.com

ART OF SONG
“I Will Follow”
U2
Boy
1980 | Island Records

U2, to their credit, have managed for decades to write, with impressive prolificness, interesting songs and (mostly) excellent albums. In part, their ongoing quest to refine and reinvent themselves has fed their perennial import. That said, mining their original material, which possesses more than a smidgen of raffish unkemptness, really shows why this band has had such a successful career. The track “I Will Follow,” from their 1980 album Boy, showcases particularly well, the raw grit that keeps U2’s sound fresh and vital, even now, as the band continues its decades-long byzantine meanderings through all kinds of layered intricacies, in song composition and technological experimentation. Essentially, no matter how sophisticated the band’s musicianship becomes, they always sound their best when they retain, at the very minimum, a hint of their less sophisticated (and less self-conscious), youthful selves. “I Will Follow” works, not despite their basic deficit in complexity and honed technique, but because of it. Young Bono, still sans the alter egos, glamorous accoutrements, and redemptive visions of celebrity in which he would eventually luxuriate with unadulterated glee, sings with an unfettered earnestness that continues to propel his best work to this day underneath, or (depending upon one’s opinion) despite, his entertaining affectations. Similarly, The Edge’s guitar drives the tune forward with a very simple melody that feels straightforward and unabashed, with a subtle tinge of punk beaming through. Though U2’s ever-burgeoning catalogue of current work proves consistently worth checking out, revisiting their sound in its original incarnation on their earlier albums, hallmarked by such songs as “I Will Follow” and similarly unpretentious rock tunes, promises to be an equally worthwhile venture.

by Alicia Dreilinger

www.u2.com

ART OF SONG
“I Will Follow”
U2
Boy
1980 | Island Records

U2, to their credit, have managed for decades to write, with impressive prolificness, interesting songs and (mostly) excellent albums. In part, their ongoing quest to refine and reinvent themselves has fed their perennial import. That said, mining their original material, which possesses more than a smidgen of raffish unkemptness, really shows why this band has had such a successful career. The track “I Will Follow,” from their 1980 album Boy, showcases particularly well, the raw grit that keeps U2’s sound fresh and vital, even now, as the band continues its decades-long byzantine meanderings through all kinds of layered intricacies, in song composition and technological experimentation. Essentially, no matter how sophisticated the band’s musicianship becomes, they always sound their best when they retain, at the very minimum, a hint of their less sophisticated (and less self-conscious), youthful selves. “I Will Follow” works, not despite their basic deficit in complexity and honed technique, but because of it. Young Bono, still sans the alter egos, glamorous accoutrements, and redemptive visions of celebrity in which he would eventually luxuriate with unadulterated glee, sings with an unfettered earnestness that continues to propel his best work to this day underneath, or (depending upon one’s opinion) despite, his entertaining affectations. Similarly, The Edge’s guitar drives the tune forward with a very simple melody that feels straightforward and unabashed, with a subtle tinge of punk beaming through. Though U2’s ever-burgeoning catalogue of current work proves consistently worth checking out, revisiting their sound in its original incarnation on their earlier albums, hallmarked by such songs as “I Will Follow” and similarly unpretentious rock tunes, promises to be an equally worthwhile venture.

by Alicia Dreilinger

www.u2.com

LOCAL SPOTLIGHT NYC

Photo by Michael Halsband

Sometimes, when local musicians become nationally and, as the case may be, internationally known, their achievements ironically wind up eclipsing their presence in the very place in which their success took root. They get their start playing clubs around town, move on to the college circuit, and eventually spend the majority of their time on the road. Their local fame and their original following can strangely lessen – especially amongst youngish, new transplants to NYC, many of whom who are here trying their own luck in the music industry. This is why, for this week, I have decided to focus on an artist who I think should be mentioned, even though he’s already famous.

Richard Julian has become a common name for many who enjoy singer-songwriter music. The mainstream acclaim his excellent album, Good Life, has received may be considered his big break. Since then, he has recorded two additional albums: Slow New York and Sunday Morning in Saturday’s Shoes. (His first album, produced prior to Good Life, was Smash Palace.) His music has been covered by NPR and he tours regularly, all over the place. He has played at The Living Room, Rockwood Music Hall, and other reputable music venues, where he still performs with some regularity. Julian has a rustic voice, and possesses a subtle finesse that combines the wry wittiness of his lyrics and his accomplished guitar playing. He sounds great, both live and onstage. His constantly evolving sound promises that he’ll be around for years. If you don’t already know Richard Julian’s music, be sure to check it out.

by Alicia Dreilinger

www.myspace.com/richardjulian

Photo by Bill Bernstein

Talented musicians can write expressive songs that deftly reflect their influences; talented and confident musicians can write songs of lasting influence that deftly reflect on expression itself. Such is the case with long-time New York City singer-songwriter Rachael Sage. Sage’s ever-burgeoning oeuvre has been built upon her commanding talent as a pianist, vocalist, and lyricist, as well as her commitment to her own eccentricity. Consequently, though her music profits off the successful experimentations of greats such as Ani DiFranco, Joni Mitchell, Elvis Costello, and Ben Folds, she is no mere acolyte.  Her work sounds fresh – quite an accomplishment, considering her immense prolificness. Her discography includes 2008’s Chandelier, 2006’s The Blistering Sun, 2004’s Ballads and Burlesque, 2003’s Public Record, 2002’s Illusions Carnival, 2001’s Painting of a Painting, 1998’s Smashing the Serene, 1996’s Morbid Romantic plus (!) contributions to compilation New Arrivals CDs.
More on Rachael Sage