Tag: music

John C. Reilly Would Really Understand Me

The Muppet Rowlf was a regular on the Jimmy Dean Show, sometime during its 1963-1966 run on ABC-TV


I’m watching The Daily Show with Jon Stewart recently, miraculously only a couple days after the show aired. John C. Reilly, who I know best from the movie Chicago, was on, ostensibly to plug his new movie, Cyrus. But it is what he said about music, at about 4:20 of this clip, that really struck me. Seems that when he was a kid, when his mom or dad would say a word or a phrase, he would come up with a song to go along with it. I did/do the same damn thing!

And while we both realized it could be really annoying, it was not done for that purpose. It happened because that’s the way we connect the dots in the world. I was reading a cereal box recently, FCOL, and the first sentence was “Life is complicated.” IMMEDIATELY, I thought, “Why is life SO COM-pli-cated?” That’s a line from which uses the Stevie Wonder-penned song, because I haven’t yet SEEN that yet.
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I wanted to write about the singer Jimmy Dean, but needed an angle, and didn’t find one until I read this article. Of COURSE! The Muppet Rowlf was a regular on the Jimmy Dean Show, sometime during its 1963-1966 run on ABC-TV, which I would occasionally watch. So Dean hired Jim Henson early on. Here’s a dated bit between country singer and dog, a Rowlf ad for the Dean show, and an ad for a Rowlf doll; note the early version of Kermit the Frog.

The other thing about Jimmy Dean is his big hit, Big Bad John, and how near the end, when the line reads, “At the bottom of this mine lies a big, big man.” Yet I always hear something coarser, such as “a helluva man.”

If I ever had his sausage, I have no recollection.
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Crispian St. Peters died, best known for song called Pied Piper. But he also had a minor hit with Evanier gives details of the great artist’s life.

MOVIE REVIEW: Crazy Heart

The familiar hellholes Bad plays in is reminiscent of the familiar, easygoing and peaceful characters Bridges has played in the past.


Strange. I saw Crazy Heart back in March, in the theater, just before the Oscars, and was going to write about it then, but couldn’t find the right angle. Then I figured that the next movie I saw would motivate me to finally write about it, but I haven’t SEEN a film since then, aside from a partial one. Now it’s three months later, the movie’s available on video. I was going to say at the time that it was a good rental rather than necessary to see in the cinema, but now I’ve waited so long, that’s about the only way you’re likely to see it.

As you probably know, Jeff Bridges won the Best Actor Oscar for playing rundown country singer Bad Blake, an alcoholic on the downward slope of his career, forced to play small venues such as bowling alleys. He manages to hook up with his female fans as he travels from town to town. His former protege, Tommy Sweet (Colin Farrell), makes it known through Bad’s manager that he wants buy some of Bad’s songs, but Bad’s hidden pain blocks his creativity. Meanwhile, a roving reporter (Maggie Gyllenhaal) falls for him.

The familiar hellholes Bad plays in is reminiscent of the familiar, easygoing and peaceful characters Bridges has played in the past. It’s a good role, and he plays it well, but it is not groundbreaking cinema, and the award, I suspect, is as much a reward for lifetime achievement as for this particular performance.

It’s not that I didn’t like Crazy Heart – I did – but it had a certain “I’ve seen this before” feel. And I didn’t quite buy the hookup between Bad and the reporter, though, oddly, I did believe the relationship subsequently.

Oh, for Christmas 2009, I got the soundtrack for this movie, which is quite good. But it’s better once you see the movie and understand the context. Both Bridges and Farrell do their own singing, and they’re quite competent.

30-Day Challenge: Day 6 – Favorite Song

I own the vast majority of the music released in the 20th Century on the Rolling Stone magazine list, but did only so-so on this past decade.

If you had access to the soundtrack of my mind – my, that’d be VERY scary, and you don’t know how lucky you are – you would know that picking a favorite song is nigh unto impossible. I did select 100 songs that moved me, with my #1 pick here a couple of years back, but such a list is highly fungible.

Besides, that doesn’t mean any of them are my favorites. I’m always thinking, “How could I forget THAT one?” Experienced that phenomenon just recently when I was watching an episode of Glee and hear the song “A House Is Not A Home” and thought, “I’m very fond of the Dionne Warwick version of that song; should have made the list.”

So, I decided to pick a list of three of my favorite songs that namecheck other songs by that same performer:

3. Creeque Alley by The Mamas and the Papas, with the final line, “And California Dreamin’ is becomin’ a reality…

2. Glass Onion by the Beatles with references to Strawberry Fields Forever, I Am The Walrus, Lady Madonna, Fool on the Hill, and Fixing a Hole

1. Sly and the Family Stone – Thank You (Falettinme Be Mice Elf Agin) that mentions, almost in a row, Dance to the music, Everyday people and Sing a simple song


Rolling Stone has updated its 500 Greatest Songs of All Time. Since none of them are from before 1940, I assume we’re talking popular, recorded songs, not of the classical or jazz genre. Still, I note that I own the vast majority of the music released in the 20th Century on the list, but only so-so on this past decade. I own the first 50, indeed, the first 99; #100 is Crazy by Gnars Barkley.

The Tony Awards, celebrating Broadway’s finest, are on this Sunday, broadcast on CBS-TV. I always watch because it’s generally more entertaining than any other awards show. There’s a large number of actors more associated with TV and film who are nominated this year. Also nominated for Best Musical: American Idiot, based on the Green Day album.

I Admit I Like Billy Joel

Billy Joel tells the story about when the instrumentation all drops out, it was an accident, when he was playing with the knobs and feared he’d ruined the recording.


One of my colleagues, knowing my affection for music, was telling me about a Billy Joel song called We Didn’t Start the Fire, which you can hear here, after a short ad. I was never a huge fan of the song. But she explained to me that the historical references in the piece made her want to look up the background behind those events. So, I have rethought the song and deem it OK, especially after I came across this teacher’s guide to it.

Actually, I rather like Billy Joel, even though it was never really cool to like Billy Joel. The only time I saw him live in New Paltz in 1974 (I think). Buzzy Linhart opened for him. Joel and the entourage got lost getting to New Paltz and were over two hours late. Billy was practically glued to his piano bench. The song I love most from that period was Captain Jack.

Compact disc

Subsequently, I bought several BJ albums. In fact, when I FINALLY bought a CD player, I bought a half dozen CDs to play on it, one of which was this album:

I got rather fond of much of his music, which seemed to dominate MTV in the early years.
Some favorites:
Big Shot, which I always thought was self-referential
Allentown, with the industrial sounds
Pressure, with the specific reference to Channel 13, the PBS station in NYC. He tells the story about when the instrumentation all drops out, it was an accident, when he was playing with the knobs and feared he’d ruined the recording.
But probably my second favorite song, after Lullaby, is Big Man on Mulberry Street, probably because of that fantasy piece on the TV show Moonlighting, a program I loved early on *(and then not so much…)

There was a recent piece in Salon that called Billy Joel a Misunderstood American Master, and I think he is right.

I’ll end this with BJ’s rendition of New York State of Mind, a great version from right after 9/11/2001.

BJ turns 61 on Sunday.

Norman Whitfield

Grapevine, War, Car Wash


Surely, my initial appreciation for songwriter Norman Whitfield came at that juncture in the career of Motown’s Temptations in 1968 when David Ruffin, the lead vocalist on “My Girl” and most of the hits up to that point, left the group and was replaced by Dennis Edwards.

At the same time, Whitfield became the exclusive producer for the group and implemented what he freely admitted that he stole from Sly Stone: the multi-lead singer motif, best exemplified by the hit “I Can’t Get Next To You,” number 31 on this list. Also, he, along with Barrett Strong (who incidentally sang the first Motown hit, Money), wrote virtually all of their hits: “Cloud Nine,” “Psychedelic Shack,” “Ball of Confusion,” “Just My Imagination,” “Papa Was a Rolling Stone,” to name just a few of the “psychedelic soul” tunes.

Tunes

But in fact, Norman wrote or co-wrote tunes for the early Temps (“Ain’t Too Proud to Beg,” “Beauty Is Only Skin Deep”) and many others:

Bright Lights, Big City by Jimmy Reed

I Heard It Through The Grapevine. This is the Pips version, which went to #2 in 1967. Rumor has it that it was covered later to even greater effect.

He Was Really Saying Something – the Velvelettes

(I Know)I’m Losing You  – the Temptations

Too Many Fish In The Sea – the Marvelettes

Needle In A Haystack– the Velvelettes

Not to mention:

Wherever I Lay My Hat (That’s My Home) – Marvin Gaye

Too Busy Thinking About My Baby – Marvin Gaye

Smiling Faces Sometimes

War – Edwin Starr

Car Wash – Rose Royce

Norman Whitfield died Tuesday, September 16, at the age of 67. He suffered from complications of diabetes and had recently emerged from a coma, The Detroit Free Press reported.

Whitfield, with Barrett Strong, was inducted into the Songwriters Hall of Fame in 2004. They won the Grammy in 1972 for best R&B song for the Temptations’ “Papa Was a Rolling Stone.” Whitfield won another Grammy in 1976 for best original TV or motion picture score for the hit “Car Wash.”

Motown great Smokey Robinson called Whitfield “one of the most prolific songwriters and record producers of our time. He will live forever through his great music.”

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