The Not-Pop Jukebox

Cover songs that defy expectations rank up with unexpected mash-ups in my top ten favorite things about music. While you expect a cover band like Richard Cheese and Lounge Against the Machine to cover wildly different genres, small-time indie bands like The Connells, that display intelligence, creativity, and a certain gentleness in their lyrics and music, strike you all the more when they leap outside of their comfort zone. Thus, their cover of Insane in the Brain absolutely slays me. If you're unfamiliar with The Connells, click their name above and get a taste of how they normally sound. Whether you know these bands or not, enjoy the delicious variety you get from three very different takes on the Cypress Hill original that's all about power and wants nothing to do with delicacy. Be warned, however, that you will find very naughty language and imagery in all three of these tracks. Children, click elsewhere!

While I’m not a big fan of organized religion, there’s something about the idea of “selling cherry bombs for Jesus” that tickles me. In addition, Paul Thorn has made Mission Temple Fireworks Stand a piece of rockin’ blues that takes the best of rollicking gospel, adds a dash of humor, and really makes it stand up and dance. Wait, it was me that stood up and danced. It’s just that kind of song. Paul Thorn tells such a good story that you can picture the scene, “bottle rockets two for one and the salvation is free”. I may not agree with the message, but I love the way it comes across.

Sawyer Brown covered Mission Temple Fireworks Stand, with Robert Randolph, of all people. While I adore Robert Randolph, I don't think that this version jumps like the original. In addition, the beginning and especially the end of the video creep me out. That doesn’t mean that you can’t love the song, of course, but that’s how I feel about it.

Edit: The stupid Imeem version has disappeared and the original song isn't on Grooveshark. They do, however, have the Sawyer Brown cover with Robert Randolph so you can hear about what I (and my commenter below) were writing.

I don’t know if you folks have the same sort of mental DJ as I do, but that little voice inspired this post. It insists on certain songs following one another, like The Belle Stars’ Iko Iko must follow Musical Youth’s Pass the Dutchie. In this case, the connection between WookieFoot’s Run and Amy Winehouse’s Rehab makes more sense. WookieFoot sings about doing “the rehab dash”. It’s practically self-explanatory, dear readers. My question is, “What other rehab songs belong on the list?” Let me know, and I’ll see if I can add them.

I’m skating dangerously close to the “pop” line with today’s selection, but the hand-clappy instrumental on Never Had Nobody Like You is so reminiscent of the 80s that I can’t resist the song. Apparently, M. Ward (the him of She and Him) meant his new solo album, “Hold Time”, to be a retro sound as a sort of tribute to Buddy Holly and others of that ilk. He was aiming for the 50s but, with this song, he and Zooey Deschanel rather missed that temporal mark.

That said, Never Had Nobody Like You remains a good little song. It’s toe-tapping and finger-popping fun, nothing deep or complicated but fuzzy guitars and interesting lyrics make it stick with you. Forgive me for this almost-pop selection, if you will, or tell me that I’ve sold out to the music industry’s promotion. But before you do that, listen to the song so that you can tell me whether you like it, too.

I am at a loss to explain just why Pa-Pa-Pa-Palavas entertains me so very much, except that the Triplets of Belleville movie was so creative and well-done that you don't notice the complete lack of dialog until the movie is over. The entire story is told through music and body language. You have to respect the talent that allows these flimsy elements to carry a feature-length, animated film instantly into classic status.

Every once in a while, one must admit to a guilty pleasure. Today, I confess my love for the various versions of Leadbelly's Black Betty. That is all.

The delightful Two-Man Gentlemen Band has produced another earworm with William Howard Taft, and I'd hate to be the only one wandering around with the song stuck in my head. I'm including the video because the gentlemen in question display their sense of humor not only in their ability to write lyrics that tickle the funny bone but to display that wit visually. The music is old-school in the extreme, perhaps, but it may introduce a whole new generation to the amusing and musical possibilities of the banjo.

Buy William Howard Taft

Some songs grab hold of your brain and refuse to let go. Cider Drinker fits that category, so consider yourself warned. If you are at all susceptible to earworms, don't listen to this song. In general, Bad Manners has a sound that's a bit too rough-and-ready for me, but Cider Drinker stuck in my head from the first time I heard it on my Pandora station dedicated to third-wave ska.

I discovered that it had even been covered, as I Am a Cider Drinker, by The Wurzels. While the second version cracks me up, particularly the milking sound effects behind the first verse, it just can't hold a candle to Bad Manners and their infections song. Go get yourself a glass of cider and have a listen.

Apparently, you can't download either of these versions from Amazon as MP3s, although you can get a fifty-six-second live version of Bad Manners's Cider Drinker.

Anyone who offers an opinion about the good, old, chaste days of the ‘40s and ‘50s in my general vicinity gets pointed to some of the popular songs of the day. Louis Prima offers some fantastic examples of naughty songs that disprove the innocence of the sock hop, including Closer to the Bone. Those boppin’ boys and girls weren’t thinking about sharing milkshakes and holding hands when dancing to this song, I can tell you!

I think someday I’ll make a playlist of double entendre songs, lest you think it’s only my dirty mind that’s reading into Closer to the Bone. I’ve got examples stretching back at least a hundred years. Your great-grandparents weren’t necessarily the paragons of virtue they’d like you to believe, either. Through literature and music, people have always demonstrated the same human interest in, well, other people’s parts. They just don’t want to admit it.

Oh, an by the way, it swings.

I came to Green Owl Records and their album “Esau Mwamwaya and Radioclit Are The Very Best” through a post at Quiet Color that included their re-make of Vampire Weekend’s Cape Cod Kwassa Kwassa. I call it a re-make because they’ve completely replaced the vocals and made a song that remains fantastic but is very different from the original. At any rate, I discovered that you can listen to and download the entire album, all fifteen tracks together or individually, for free from the Green Owl website.

I won’t say that I enjoyed all of the tracks as much, but the songs on the whole were a refreshing change from the indie pap that’s creating so much hype these days. I particularly recommend the hip-hoppy Boyz, which includes a section to the tune of Do You Hear What I Hear?, and the energetic Birthday.

Have you ever heard an artist for the first time and immediately felt “comfortable” with their sound? Such was the case for me today with Bob Schneider. I don’t remember ever having heard of him before, but I heard Bullets on the radio and, as soon as I could get my hands on a computer, looked up the song and the artist. You can listen to his newest (2004) album, "When the Sun Breaks Down on the Moon", at his website, and some of his older stuff can be found at Grooveshark, through the player below.

It turned out that Bullets is not typical of Bob Schneider’s sound. It’s a funky little groove with lyrics that make you wonder what in the world he’s singing about. Bullets even has a horn section! But Schneider’s other songs showcase his voice and guitar playing. It was that voice that I loved, especially on Metal and Steel and his rendition of If I Only Had a Brain. If you have a chance, check out some of his other songs, and let me know what you think.

In honor of Presidents' Day in the US, I thought I'd post a Presidents of the United States of America tune. I considered posting Back Porch and Dune Buggy, both fun songs demonstrating the “southern rock” aspect of the band, but in the end I decided Kick out the Jams to be more topical. After all, they do promise to “uphold the Constitution of the United States of America.” You don't get much more presidential than that. George Washington and Abraham Lincoln both pledged the same thing, and both of them had to put up or shut up as far as that oath went.

Kick out the Jams lasts less than a minute and a half, but The Presidents of the United States of America pack an oath and a rocket trip into that brief span. They certainly do a better job of kicking out the jams than, say, Rage Against the Machine and MC5, although Blue Oyster Cult did some excellent kicking. That's my subtle way of pointing out that the phrase has been in use for decades, by some well-known and pretty highly-respected bands. I think this is a worthy addition to the jam-kicking canon. Happy Presidents' Day, all you US-ians reading this. For anyone else, Happy Monday!

Buy Kick Out the Jams

If you still have the Steve Miller Band record with Abracadabra on it (as I do), you may find yourself appreciating Robin McKelle's version of the song (again, as I do). This version combines several of my loves: 45s from my childhood, jazz, a wailin' horn section, and scat. While I like the original, Robin McKelle does a fantastic job with the song. Her band also makes this a swinging cover of a classic 80s rock tune.

Buy Robin McKelle's Abracadabra

In honor of the beauty of Valentine's Day, I offer this moving, cautionary tale from Saffire The Uppity Blues Women. They want you all to remember that, If Love Hurts, You're Not Doing It Right. Such honesty must, of necessity, wear a rating warning. The Blues Women get a bit explicit, so if your tender ears will be harmed by unveiled references to acts of an adult nature then you ought not to click play, below. Note that, in no instance, do they become crude or in any way vulgar. They just want you to know that they've noticed a few things for which you and your date ought to watch this lovely Valentine's Day. Take their words to heart, and have a nice evening!

Buy If Love Hurts (You're Not Doing It Right)

It’s strange, the way a song can stick with you. Oingo Boingo released their first full album, “Only a Lad”, in 1981 (although I admit to not owning it until 1986 or so). On that album was the song Capitalism. Last night I dreamt I was on American Idol and performed that song. I had a field day belting it out, and got booted off the show. Then Danny Elfman called to thank me for singing it. It was a great dream, because I love the song but I don’t want to be dodging paparazzi and having my children’s wardrobe criticized in People Magazine and thus wouldn’t want to win the contest.

Capitalism appeals to me, in part, because of it its snarkiness and refusal to pull punches. Danny Elfman wasn’t messing around when he wrote this one. Consider the bridge, “You’re just a middle-class socialist brat from a suburban family and you never really had to work. Now you tell me that you’ve got to get back to the struggling masses, whoever they are.” Truly, I could add the lyrics for the whole song, but why ruin the surprise?

Buy Capitalism (That seems appropriate, don't you think?)

I come across new music by some pretty interesting paths. Today, I was looking for the MySpace profile for some folks I know who run a local bar. Through a happy accident, I ended up listening to Lucy Dixon’s version of Stormy Weather. I was enamored, and immediately sought out more. Thus, I uncovered Feet and knew that it was my song of the day.

Perhaps unsurprisingly, Lucy Dixon does not appear on Imeem or Grooveshark. She has no tracks even for preview at Last.FM. But I would never leave you, my faithful readers, without some way to listen to her work. You can listen to her entire album, "Me Is You Now", at Deezer. (I know, another fabulous free site with which to involve yourself. It’s French. Suck it up and enjoy.)

I’m not fascinated by the site, as the functionality seems less intuitive than Grooveshark’s, but I am enthralled by Lucy Dixon’s sound. Take a listen to Feet, here, and see if you agree, then enjoy French tracks like Quitter Mon Ex at Deezer.

Buy Feet

I’m reaching ‘way back to 1986 for today’s post, having failed to have been moved by much new music today, to They Might Be Giants and their first, self-titled album. While I may have chosen half a dozen songs from the album, such as I Hope That I Get Old Before I Die or (She Was A) Hotel Detective, I’ve chosen a particularly TMBG song to share.

Youth Culture Killed My Dog introduces new folks to the joy that is They Might Be Giants. It also reminds us fans about their sense of humor and their dedication to critiquing modern society and trends. This isn’t my absolute favorite TMBG song, but it ranks pretty far up on my list of their best. If you want a more modern (but still ten-year-old-plus) song from them, take a listen to The Statue Got Me High, as well.

Today's song takes me back to the 80s, when I would dance in public at the drop of a hat. It takes more than a hat these days (well, maybe a ten-gallon hat) but some of those same songs can get me moving like it was 1989. Boom Crash Opera's Onion Skin rates as one of those songs. I still have the cassette around, but I'd just about forgotten about the song since digital music took over my life.

Last night I was peeling an onion and, lo!, there was the song, fully formed and just as fun, dancing around in the back of my mind. Naturally, I put down the onion and used the magic of the Interwebs to find it. It actually makes good cooking music, as long as you're not making a souffle. Why Boom Crash Opera never got much recognition in the US I'll never know, although none of their other songs were quite this great. I understand they were pretty popular for a while in Australia, from where they hail, but INXS eclipsed them. That's too bad, but at least you can still enjoy Onion Skin. If you can get ahold of “These Here Are Crazy Times”, try giving Axe to Grind a listen, as well.

“Thieves and cannibals aren't lazy”

I hate to pick on one particular band, but The Assent embodies all that is awkward about the unsigned band/indie movement spawned by digital music and editing software. The band's been together for three months and they've already released an EP. I'm not saying that they suck, because they don't, they just sound like they're still getting their sound together. The songs come off “same-y”, likely because they haven't yet had time to explore each other's ideas and abilities.

To be fair, it seems that the front man and the drummer have known each other for years. Also, the band had another name (D in Detroit) for a month or so before they became The Assent. Still, we're talking about a time span measurable in weeks. That rush shows in the production of the songs, wherein the drums often overwhelm the rest of the music and Clint Stoker's voice sometimes sounds strained by more than the emotion of the lyrics.

That said, The Assent does have some successful moments, particularly in Slipping, the best song off the EP and just a good song in general. (You can listen to the whole set on the band's MySpace profile.) They're competent musicians who simply need to keep touring and perfecting their sound. You'll find some interesting lyrics, some strong guitar and drums, and a guy who sounds a lot like a whole bunch of other guys.

They don't list any influences that I could find, which is a shame because I can't put my finger on who they sound like besides a good college band or ten whose shows I used to frequent. That may be because they are a good college band, in Salt Lake City, Utah. I hope that they'll give themselves time to develop their talents to complement each other while they're pushing so hard to get recorded. If you want to pick up their tunes in the meantime, head over to MadeLoud. You can't get a CD of the songs, but you can buy digital copies.

I wouldn’t have included this video, since Bo Diddley doesn’t actually perform in it, but I really wanted to post this song. Imeem and Grooveshark both let me down on this one, although Songza has a great recording of Bo Diddley Is Crazy. (And a quick thanks to David Blakey for letting me know that the song isn't called Bo Diddley Is a Lunatic, although I still didn't find it on any of my usual sources.) This is one of those songs that makes you want to jump around and wave your hands in the air. I hereby nominate it as one of the best songs of all time. Can you tell I’m listening to it as I write this?

My mental playlist insists on following this song up with They’re Coming to Take Me Away, but the Lard version of the song, rather than Dr. Demento. This one always seemed a little more psycho to me. Maybe it’s the cuckoo clocks. Maybe it’s Jello Biafra.

Amazon doesn't have a digital copy of Bo Diddley Is Crazy, but you can buy the album "A Man Amongst Men" and you can get Lard's They're Coming to Take Me Away there.

Nat King Cole has been one of my favorite artists since I learned to work a turntable. Among his best songs (besides L-O-V-E, about which I recently waxed poetic, sort of), The Frim Fram Sauce displays the sort of playfulness he often displayed in live performances. The song has, of course, been covered by many. I still think the original version stands above the rest.

To be fair, Diane Krall does an admirable version, with a fun little scat section to boot. She simply lacks the smo-oo-oth quality that Nat King Cole demonstrated so ably. The John Pizzarelli Trio offers a competent but comparatively anemic interpretation. Again the voice just can’t compete. And then there’s the song here labeled “Ella Fitzgerald”. It’s Louis Armstrong and Ella. Okay, okay, stop swooning. Two epic voices like these together can’t be left off my list, but I still like Nat better.

If you’re wondering about the Frim Fram Sauce lyrics, you can read through this article for the Guardian that doesn’t actually answer the question except to tell you that they don’t mean a thing (even if it's got that swing). It’s actually just an interesting article about lyrics and language, but I didn’t have any other reason to post it here so I thought I’d include it here.

Buy Nat King Cole's Version
Buy the Diane Krall Version
Buy the Ella and Louis Version
Buy the John Pizzarelli Version

I’ve been sitting on the news that I won a fabulous ThinkGeek prize from WonderfulWeb for my Bloggers Unite post in December. I’ve been “awarded” a prize or two before that did not materialize, so I was leery of celebrating before I knew that the Personal Soundtrack Shirt was really mine. Yesterday, said shirt was delivered into my hot little hands, and I had a field day playing with it.

We devised a game at home, during which I would play a particular “soundtrack” song (Spy Mission, Western Showdown, etc.) and my children would enter the room in that particular style. I would then play the police siren and chase them around the house with a flashlight, until I caught them (cue Superhero Rescue song) and put them in jail (with cheering). This happened after I finally managed to pry it out of my husband’s hands, of course.

The question is, do I leave the sound effects or replace some or all of them with my own music/effects? What song rates so highly; which songs are part of my personal soundtrack? We decided last night that each of us should get our own SD card and set up a soundtrack, so that everyone can enjoy the shirt. And the speaker/wires are detachable for washing, which will definitely come in handy, and which has prompted hubby to consider other places to attach said speaker. So thanks, to both WonderfulWeb and ThinkGeek. I’ll be enjoying the shirt and will post again if anything really creative or entertaining happens with it. I suspect that it will.

Apparently, I’ve stumbled across some new music, for once, even ahead of a full album release. Suckers has released an EP, however. Easy Chairs stands head and shoulders above the other songs, from what I’ve heard. To be fair, the songs on their MySpace page are all demos rather than the polished versions, which may make a difference. At any rate, if the band can put together more music like Easy Chairs I’ll certainly buy it. It’s fun and wacky, with interesting lyrics. Suckers hooked me with the first ten seconds, which doesn’t happen often in these days of two-minute intros. Give them a listen and judge for yourself.

In honor of Superbowl Sunday, I thought I'd post a song that could be about football, but isn't. The game in Play the Game is not one of professional sports at all but the "game of love". The song is classic Queen, though, and this video reminds you of the hair follies of the 70s and 80s while allowing you to enjoy the voice that all of music mourns. I don't have a favorite team, so I'll just wish for an enjoyable game and a good half-time show.

Buy Play The Game