rock – Page 21

John Powhida International Airport | Michael 3 o’Clock

The Arts Fuse describes The Bad Pilot, the 2019 album by John Powhida International Airport (winners of the 2011 Rock & Roll Rumble and multiple Boston Music Award nominees), as “clearly rooted in the 1970s — but that decade was nothing if not kaleidoscopic … the sound and feel of everything from Philly soul to new wave, hard rock, funk, and progressive rock.” JPIA’s recent release “Michael 3 O’Clock” continues that trend, incorporating kaleidoscopic effects on the video in addition to the melange of styles on the track.

Powhida relates some of the tune’s backstory: “I saw Michael Quercio and the 3 O’Clock Band open for REM. A direct quote from him to a heckler: ‘REM will be out in a second. Suck on this, honey.’ Trailblazers of the Paisley Underground scene with The Bangles and others … Prince was a fan and held his hand in a meeting, then signed them to Paisley Park.” AllMusic details that The 3 O’Clock “incorporated the chiming guitars of the Byrds and the Beatles into their pop songs with a psychedelic bent, and the clothes to match.” While this track centers the sheen of Philly Soul, it’s appropriately completed by a gilded paisley frame, including the filigree of Peter Moore’s artful backup vocal and string arrangement.

The ballads of the Philly Soul canon certainly never shied away from melancholy. Instead, they stared the emotion down bravely while featuring ecstatically gorgeous arrangements and harmonies — providing incentive for the listener to stick around instead of running back to bubble-gum pop. Meanwhile, Powhida has the guts to stare down his influences and a potentially pivotal missed connection while taking us along for the ride. A capsule review on Powhida’s Bandcamp page lauds the tune’s mix of “admiration, resentment, and a little heartbreak” — not bad for a four-minute narrative.

After the tune opens with a guitar hook over a mysterious suspended chord, the groove starts the track in earnest at 0:09 in an uncomplicated A major. The verse then shifts to a second section in C major at 0:37. The chorus, in E minor, admittedly owes a huge melodic debt to the chorus of The Stylistics’ “You Are Everything,” but mixes in plenty of Powhida’s trademark wit — so clever that Quercio reportedly couldn’t stay mad for long, even after being artfully skewered:

SuperCaliforniaFragileDiva what goes on inside your head? / PsychoRelicDandyLiar Michael 3 o’Clock it’s time for bed

Verse 2 and Chorus 2 continue the pattern, followed by a beautifully contrasting bridge, starting with a surprising palate-cleansing sidebar (C major) at 1:56, then a jump to C# minor at 1:59. At 2:44, JPo delivers one final double-sided homage before his pitch glissandos downward like an anchor falling to the bottom of a pond — making the modulation upward to E minor for the final wall-of-sound choruses all the more massive. After a minor-key echo of The Beatles’ “All You Need Is Love” at the start of the outro, we somehow end this unlikely travelogue where we began, shifting back to A major and a reprise of the opening hook at 3:51.

Charlie Daniels | Drinking My Baby Goodbye

“Charlie Daniels accomplished something few other musicians did: he made the leap from session musician to superstar,” AllMusic notes. “The song that made him famous was ‘The Devil Went Down to Georgia,’ a roaring country-disco fusion that became an international smash in 1979.” The tune “(introduced) him to millions of listeners and giving him a career that spanned decades. In its wake, Daniels quietly shifted his emphasis from Southern rock to country.” Earlier in his career, “his big breakthrough came when he played on Bob Dylan’s 1969 LP Nashville Skyline, a credit that opened the doors for the multi-instrumentalist to play with Leonard Cohen and Ringo Starr. Daniels parlayed this behind-the-scenes success into fronting his own band … Daniels weathered fashions, trends, and politics to become a beloved American music institution.” Daniels passed away in July 2020 in his mid-80s.

Rolling Stone Australia reviews “Drinking My Baby Goodbye,” Daniels’ 1985 release: “An outlier in a catalog more often associated with good-ole-white-boy anthems and Southern gothic story-songs, this 1985 Top 10 country hit is a dancing-all-over-your-troubles rave-up. It launches with an electric guitar part that, uh, tinkers with the one in Kenny Loggins’ ‘Footloose,’ but Daniels quickly commandeers the lick for himself … Daniels charges at his lines like he’s channeling Jerry Lee Lewis: ‘Pour me another one/I’m finished with the other one!’ But it’s Daniels’ delirious fiddle that moves the crowd and tips you off that this drinking cure might just work.”

This rollicking uptempo country/rockabilly dance hall track is fueled by Daniels’ vocal, which focuses on sung melody but adds a dash of the flow-state rap he made famous with “The Devil Went Down to Georgia.” Daniels’ muscular yet agile double-stop fiddle technique is another central ingredient. A whole-step modulation cuts in at 2:56. Many thanks to Alex G. for yet another great tune!

The Hold Steady | Massive Nights

The Hold Steady is “an acclaimed and respected Minneapolis-bred indie rockers who boast a melodic, contemporary take on mid-’70s classic rock,” reports AllMusic. “Craig Finn and Tad Kubler — two N.Y.C. transplants from Minneapolis — decided to blend their punk roots with album-oriented classicism and a frenetic literary sense, winding up with a careening, open-hearted rock & roll that seemed to exist just outside of time.”

The AV Club reviews 2006’s “Massive Nights” as “a hard-partying prom theme … one of The Hold Steady’s fastest and most celebratory-sounding songs … Both in the studio and in concert, that chorus gets an extra reprise with a frenzied key change in the final stretch … though the key changes generally aren’t go-to moves in The Hold Steady’s arsenal … a key change is basically the only thing it can do to kick itself into higher gear before its three minutes are up.”

Careen is exactly what this uptempo 12/8 rocker does, propelled by backing vocals that sound like a hyped-up live crowd proclaiming the hook — even on the studio track. A whole-step key change hits at 2:24.

The Fiery Furnaces | Even In the Rain

Jack White’s Third Man Records provides an overview of The Fiery Furnaces, a duo comprised of siblings Eleanor and Matthew Friedberger. Forming in New York City in 2000, “their debut album Gallowsbird’s Bark was released to critical acclaim in 2003. In the following seven years, they released eight more albums and toured extensively throughout North America, Europe, Australia and Japan.” The band was active during the 2000s, ceased operations during the 2010s, but apparently is staging a 2020 comeback. AllMusic describes the band’s focus as a “sprawling sound that draws on influences from indie rock to musical theater.” Read the entire AllMusic band bio — it definitely shatters the “quirky” meter!

Describing the sprawl is The AV Club‘s review of the 2009 track “Even In the Rain”: “The Fiery Furnaces’ albums are generally littered with idiosyncratic flourishes that sometimes seem directly designed to alienate the band’s less-patient listeners: backward tracking, tempo shifts, extended keyboard noise solos, and key changes, among others … on stretches of ‘Even In The Rain,’ the song sounds like a relatively straightforward ballad with a strong keyboard hook. But the chorus, which consists only of the words “even in the rain,” slides the song between keys several times, lending a lot of unpredictability to such a short, simple phrase.”

The key changes are unconventional and are wielded casually; the first one hits at 0:26, just before the vocal enters. There’s little sense of directionality or catharsis to the modulations; instead, each one is a page in a short and vivid animation flipbook which seems to advance or reverse the plotline at random.

Strangers Like Me (from “Tarzan”)

“Strangers Like Me,” by English drummer and songwriter Phil Collins (best known for his work with the rock band Genesis), was originally featured in the 1999 Disney animated film Tarzan, and later included in a Broadway musical adaptation. Also popular as a pop song, the track reached the #10 spot on the US Billboard Hot Adult Contemporary Tracks chart. Straight-forward half-step modulation at 3:06.

Little Feat | Mercenary Territory

AllMusic describes Little Feat as “long-running purveyors of funky southern boogie (by way of Los Angeles). Though they had all the trappings of a Southern-fried blues band, Little Feat were hardly conventional. Led by songwriter/guitarist Lowell George, Little Feat were a wildly eclectic band, bringing together strains of blues, R&B, country, and rock & roll. The band members were exceptionally gifted technically and their polished professionalism sat well with the slick sounds coming out of Southern California during the ’70s. However, Little Feat were hardly slick — they had a surreal sensibility, as evidenced by George‘s idiosyncratic songwriting, which helped them earn a cult following among critics and musicians.”

This live version of “Mercenary Territory” is from the 1978 live album Waiting for Columbus. Mostly in D major, the tune takes us through a brief but trippy key-of-the-moment patch from 1:18 – 1:25. We then embark on an extended D minor instrumental bridge from 1:55 – 3:36 featuring a boisterous romp of a sax solo, ending in stratospheric off-the-horn glissando fireworks (a horn section wasn’t a regular part of the instrumentation, but no less than the Tower of Power horns joined forces with Little Feat here). At 3:36, there’s a prominent shift back to D major.

Many thanks to recurrent contributor JB for this submission!

The Ramones | I Wanna Be Sedated

Bob Boilen wrote an NPR review of “I Wanna Be Sedated,” the 1978 punk single-turned-classic, to accompany the song’s inclusion in the NPR 100. “I love The Ramones. I think The Ramones took rock ‘n’ roll back to its soul. In the mid-’70s, rock had grown into something big, fat, bloated. Bands like Emerson, Lake & Palmer, Yes and Kansas were touring huge arenas. Large truck convoys followed them, filled with light towers and smoke machines and other things that had little to do with music … Along came Joey, Johnny, Tommy and Dee Dee, four guys from Queens with a passion for short, loud and fast songs with great hooks … The Ramones’ music was a call to brandish guitars, shift music back to the clubs and sing from the heart and the gut. And don’t forget: This is supposed to be fun … The Ramones’ vision never changed: Make fast, loud, fun music. No solos. Keep it short. Play to your audience, not to each other.”

Time Magazine recognized the tune as part of its All-Time Best 100. “The Ramones’ buzz-saw bubblegum was a spitball of opposition to nearly everything else happening in pop in the mid-’70s … (it’s) hilarious where it could have been self-indulgent, mostly because nobody had ever sung so earnestly about longing for tranquilizers. And they were famously averse to rock-‘n’-roll frippery like guitar solos, so Johnny Ramone’s ultra-minimalist solo here is both an upraised middle finger and a brilliant show of compositional chutzpah.”

The band’s trademark three-chord harmonic vocabulary instantaneously doubled when a whole-step modulation hits at 1:11. The tune has become a persistent pop culture ingredient, including the 1980 movie Times Square; TV’s My So-Called Life, Buffy the Vampire Slayer, and Beavis + Butthead; the video games Guitar Hero, Jam Sessions, and Rock Band 3; and many others. Many thanks to MotD regular Rob Penttinen for this submission.

The Cars | Got a Lot On My Head

Pitchfork describes the eponymous debut album by The Cars: “It’s a tale as old as time. A band arrives on the scene with an album so fully formed, it seems impossible that they could improve upon it, let alone escape its gravitational pull. The Cars would seem to define this trope. The 1978 debut contains so many classic rock staples, a modern listener could mistake it for a greatest hits collection. But the band is the exception that proves the rule: They managed to move forward from The Cars with a pair of albums that both refined and expanded their tightly wound new wave.”

1979’s Candy-O was an album of equal ambition. AllMusic reports that “the group were a little unhappy with how slick their debut sounded, so they asked (producer) Roy Thomas Baker to dial back the stacked vocals and make sure there was a little dirt in the machine … Candy-O is the rare follow-up to a classic debut that almost reaches the same rarified air … it may be one of the best second albums ever made, full of great songs, inspired performances, and sporting a still-perfect sound …”

Serving as something of a fulcrum for the American branch of New Wave, The Cars were known for “classic-rock riffs and melodies, synthy new-wave cool, wry, often deadpan vocals … a sound unlike any other in 1978,” according to Guitar World. But perhaps the most consistently memorable ingredient which the Boston-based quintet brought to the table was its massive hooks, which were frequently performed by keyboardist Greg Hawkes. In the case of Candy-O’s “Got a Lot on My Head,” lead guitarist Elliot Easton serves up the hook, bursting brashly out of the gates at the very top of the tune over a four-measure A major –> C major loop. The chorus (0:13) oddly appears before the verse, featuring a ii-bVII-I progression in C; 0:31 brings a verse in A major.

Elvis Costello | Oliver’s Army

Rolling Stone‘s capsule review of Armed Forces, the 1979 album by UK post-punk rocker Elvis Costello, proclaimed that the single “Oliver’s Army” was “…the pièce de résistance … on an album that’s a killer in several senses of the word. The tune sounds bright and bouncy, with a jangly keyboard riff along the lines of ‘Here Comes Santa Claus,’ and it’s enough to make you want to rock around the room.”

AllMusic elaborates: “‘Oliver’s Army’ was a 45 that radio could hardly refuse — that is, until programmers listened closely to the words and discovered it was a bitter screed about how impressionable youth were being used as cannon fodder by Tory leaders whose political agendas had little to do with the concerns of the man on the street.”

According to American Songwriter, keyboardist Steve Nieve’s “buoyant” piano part was stylistically inspired by ABBA’s 1976 hit single “Dancing Queen” — confirmed by Nieve himself. Starting in A major, the F# major bridge arrives at 1:35; Costello’s own backing vocals go out of phase here, echoing the lead or disappearing entirely, rather than the wide-ranging two-part harmonies which adamantly speak together elsewhere. Another jaunty verse kicks in at 1:53, this time in B major, carrying us to the end of the tune. Many thanks to prolific mod submitter JB for this classic!

Beatles | Something

American Songwriter features a post on The Beatles’ 1969 release “Something” that can’t be improved upon:

“The only Harrison-written Beatles tune to top the US charts, this song’s simple beauty has earned it a place in the hearts of millions and in the repertoires of countless other artists (‘Something’ is the second most-covered Beatles song after ‘Yesterday’).

Harrison’s three lyrically parallel and sonically even verses are interrupted by a key change, which prompts an up-tempo bridge. A spirited but mellow solo by Harrison shows off his unparalleled chops and brings the song back into its original key, thus leading into a final verse that lends closure to this gorgeous track…For all its initial intricacies and experimentation, a song that once hit the eight minute mark was ultimately whittled down to a three minute number that defied the band’s musical conventions.” The article mentions that Harrison had an aural image of Ray Charles in mind when writing it, but added “I’m not Ray Charles.”

According to BeatlesEBooks.com, the humble Harrison told BBC radio “They blessed me with a couple of B-sides in the past. This is the first time I’ve had an A-side. A big deal, eh? Ha-ha.”