Runco's Weekly Music

Freedom Jazz Dance - Eddie Jefferson

noreply@blogger.com (Greg Runco) — Mon, 04 May 2009 16:22:00 +0000

Heard this played by resident DJ of Interval Monday at Ava, J Malls

http://www.youtube.com/watch?v=9CU50t3OZbc

Quick story for you

noreply@blogger.com (Greg Runco) — Mon, 27 Apr 2009 23:37:00 +0000

So a couple months ago I did a write-up that was titled, ‘Education, the Arts, and the Presidential Race.’ The song I chose for that write-up was a beautiful jazz standard called, ‘My Funny Valentine,’ recorded by two Duquesne music students. I finished that write-up by saying, “It would be a truly disappointing time when outstanding music like you're about to hear is no longer echoing through university hallways with the regularity that it is today.”

Interestingly enough, I have learned a great deal about true jazz education since writing that piece. What I have learned is that true jazz education does not take place in the classroom, but rather, in the community, and on the bandstand… in the club.

And this brings me to my story…

There is a club in Pittsburgh called Ava Lounge that hosts live jazz every Monday. It’s called Interval Monday, and the second set is an open jam session. So, if you play an instrument or sing, you can get a chance to sit in and do a song.

So I’m chillin and this girl I’ve never seen there before gets called up to do a song. She looks young, about college-aged, and Howie (the piano player) says she wants to sing ‘My Funny Valentine.’

She starts off singing a cappella, which is kind of interesting. And her voice is absolutely beautiful... people in the club are kinda looking around at each other thinking, damn this girl can sing. About 30 seconds into the song she gets around to singing the words ‘My Funny Valentine,’ at which point I knew something was up… something sounded all too familiar.

As the song continues it hits me, ‘this has got to be the girl from the My Funny Valentine recording I wrote about for RWM.’ I had never met her or seen her; the recording was passed to me by the guitar player on the track…

I was about 100% positive by the end of the song it was the same girl, and after it was over she ended up telling me she went to Duquesne, studied music, and did record My Funny Valentine with my friend Pat.

So here’s the thing… she got up there that night and did that song with a bunch of dudes she had never met before, let alone played music with before. The song was not rehearsed; they didn’t do a practice run. She simply asked if she could sing My Funny Valentine, and boom, the musicians said OK, and they all played it together.

When people share a common love for an art form beautiful things happen spontaneously, as they did that night. That is what jazz is all about… and in fact, that is true jazz education. She could not learn in the classroom what she learned that night…

So although I think it would a true disappointment if music did not echo university hallways, it would be an even bigger disappointment if it did not reverberate music clubs. That is where the music is the purest, the most spontaneous, educational, and in my opinion, the most beautiful.

Interestingly enough, we had a recorder setup that day, so this week I would like to present you with the live recording from Interval Monday at Ava Lounge, of ‘My Funny Valentine,’ sung by Ana, of Duquesne University. You can hear Ana and some of the other musicians get called up on stage at the beginning; it’s a pretty cool recording…

Enjoy:

http://www.youtube.com/watch?v=UK8kXMzR338

Wes Montgomery Caravan

noreply@blogger.com (Greg Runco) — Mon, 27 Apr 2009 23:35:00 +0000

I’ve always thought this weeks song would work well if played during a car chase scene in a movie. So that’s exactly what I’ve done… I took this week’s song – took a random car chasescene from a movie… and put them together. The movie in its original format does not have music playing, just the sound of cars crashing, tires screeching, etc.

I made the entire video (including minor video editing) in like 30 minutes in Windows Movie Maker and it turned out surprisingly well.

Enjoy:

http://www.youtube.com/watch?v=SrtQTathamE

Short and sweet is how

noreply@blogger.com (Greg Runco) — Wed, 25 Mar 2009 01:01:00 +0000

I would describe this week’s song.

Whatup ladies and gents… I for sure have a great song for you this week.

Sorry about the delay by the way. Universal Music Group (the record label) is apparently trying to crack down on people uploading songs to YouTube, so they wouldn’t let me upload my dang vid!

Anyways, I obviously figured out a solution. And, in honor of UMG causing me to be 2 days late on my weekly email, as well as being an altogether horrible record label, if you like this weeks song, simply email me and I will personally send you the mp3.

Ok so this weeks song is titled, “My Jug and I” by Count Basie. The album is titled, ‘Kansas City Shout.’

What to listen for:

1) Eddie "Cleanhead" Vinson on vocals. Dudes got a great voice, the raspy, bluesy type, which compliments the lyrics nicely.

2) Interplay between Eddie on vocals and Nelson Harrison on trombone.

When Eddie jumps in on vocals, you’ll notice Nelson compliments him after each of his lines. They have a sort of ‘call and response’ type of thing going on… which primarily started in African work songs and is a hallmark to the continuation of early African tradition into modern blues.

Sometime soon I will be doing a complete RWM review on trombone / trombetto player, Nelson Harrison – fyi.

3) The build up to the ending.

The start of the ending (or, the ‘build up to the ending), in my opinion, actually begins in the middle of the song, which is kinda cool. Let’s take a quick look at why…

-- The first set of lyrics, ending with, “And I never ever see her no more,” is followed by a little piano solo – which has two basic phases; a quieter phase, and a louder / more upbeat phase (complimented by the drummer moving from hi-hat to ride cymbal).

-- After the piano solo, Eddie jumps back in on vocals, along with the whole band (building things up once again).
-- Eddie has two phases as well… a softer one, and a louder one, and during the louder one, the band plays higher / louder.

And then boom, the ending! So things steadily build up from the middle of the song until the ending, which I like.

Short & sweet, that’s they how they roll with this one…

Enjoy:

Charlie Hunter. Album: Duo. just two dudes gettin funky

noreply@blogger.com (Greg Runco) — Sun, 15 Mar 2009 18:17:00 +0000

Artist: Charlie Hunter
Album: Duo
Song: Do That Then

So first thing about this song is that it has one of my all-time favorite intros ever: It’s very simple actually, but real dirty.
They come out kinda strong for like a few seconds with a sort of bluesy beginning, basically welcoming you to the song. Then little by little they mellow things down … until you just have the drummer very softly touching his cymbals…and he continues to bring his cymbal hits down in volume until you can barely hear them. Then, CLICK !! --> Drummer does a rim shot, Charlie Hunter jumps in, and you’re tossed into a real mellow / funky groove.
FYI - It’s a lot better if you listen in nice earphones or on good computer speakers with the bass kinda turned up a little.

Second thing to note about this song, there are only two dudes playing, thus the album title: Duo. It’s just Charlie Hunter and the drummer, which means of course Charlie Hunter is playing the bass and the guitar at the same time (as he always does). If you try and think about it while you’re listening you’ll develop a greater appreciation, and more than likely it will just confuse you, as it does to me. I’ve attached a picture of his custom 8 string guitar.

Other than that, it’s just a very mellow, funky, chill song. Good for the car, good for if you’re laying around reading, that type of thing.

Allllrrriggghhht then, enjoy:

http://www.youtube.com/watch?v=mPYCt6Kv3cU

Cihans Corner Chopin Andante Spianato

noreply@blogger.com (Greg Runco) — Sun, 22 Feb 2009 17:59:00 +0000

Genre: Classical Music

This piece might be my favorite classical piano piece of all time. It is beautiful and perfect. And like all perfect pieces, it leaves you wanting more while successfully completing everything it needs to do. However, the Andante spianato is not a full piece in itself, but merely an introduction to the Grande Polonaise brillante in E-flat, Opus 22, which Chopin created in 1830-1. Chopin then added the introduction, titled above, when he was given a prestigious invitation to perform at one of Habaneck’s Conservatoire Concerts in Paris. The combined work was first performed on April 26, 1835.

While the Grande Polonaise brillante is supposed to be one of the most famous of all polonaises, and one of the most technically difficult for piano, it is the Spianato that draws my heart and gives me such exquisite pleasure. The beginning is lifted by a soft and enticing arpeggio, which provides a rippling, melancholy base throughout the song. Then the melody comes in and the beauty of the music compounds and grows as the lighter melody is constantly contrasted by the darker arpeggios flowing underneath. As the song progresses, there is a brief release of tension when the upper and lower melodies finally come together, only to drift apart before they finally join in seamless harmony. Like I said, exquisite.

This piece is one that fills me with joy and wrenches my heart at the same time. It is a feeling I often seem to get while listening to Chopin, especially his nocturnes, and one I can’t help but enjoy immensely. His music is personal, emotional, and sensual. It is the embodiment of the Romantic Age, a style that is gentle, poetic, and universally felt. And it is everything I could want from the classical piano.

Cihan

http://www.youtube.com/watch?v=oQhk36weHBw

Brace yourself on something sturdy cause these solos are dirttyyyyy

noreply@blogger.com (Greg Runco) — Sun, 15 Feb 2009 22:01:00 +0000

So last week my youtube account wasn't working; week before that I forget what happened, but anyways, I've missed a couple weeks. SO, this week I am sending out what very well might be my absolute favorite ten minutes of music, everrrrr... in addition to another song that includes what very well might be my favorite stand alone drum solo ever. PLUS – I actually have video to compliment the audio! How exciting, right?! :) So let's get right to it...

A while back I did a series of write-ups on drummers. And I never did like a 'finally,' to conclude the series. It wasn't planned that way it just kinda happened for whatever reason. Anyways, this week also concludes that little series...

Ok first thing: when I refer to soloing I do NOT mean you're playing all by yourself – when I refer to one playing literally all alone I will specifically say so... in the meantime, when I use the term 'soloing' I am referring to improvising/soloing 'over' the music.

Nevertheless if you listen to a great jazz trumpet solo, or sax solo, or rock guitar solo, for instance – typically the reason the solo is good is because it is 'built up,' from the start thru the finish.

I don't want to say the artist takes it 'slow' at first, but they start by setting the mood, they take control of the music, and guide the other artists. They tell a story with their solo... and they tell it in such a manner that the other musicians can understand, follow along with, and enhance.
This is not an easy task, by the way, because it requires you to:

1) really feel the music, “from your toes all the way up your spine” (not sure how else to describe that other than w/ the words of a friend).
2) it requires you to be attentive (to what others are playing) in a way humans are not accustomed to, and
3) it requires you to lead. And with improvisational solos (making it up as you go) you need to lead the other artists 'somewhere' – however when you start you don't know where that place is, but you better find it by the end or else your solo will suck.

Now, the nice thing about soloing over music is that if you're playing with good musicians, and you're leading them, they'll in turn follow you and enhance what it is that you are playing, i.e. they'll add accents, keep the rhythm going, etc. They also make it so that you have more 'space' in your solo, more opportunity to slowly build your solo up, more room to work with, versus if you were soloing all alone... it's completely on you to keep the audiences attention.

It's sort of like putting on a play on an empty stage, versus putting on a play with a beautiful backdrop.

And, if you're playing with good musicians, they are so in tune to the story you are telling they can often improve the solo by playing something that adds to the story and 'moves' and inspires the soloist... and this can sort of shoot the soloist in a particular direction (motivates them to play a certain way); thus adding more intrigue to the song.
For those reasons (and others I'm sure I've missed), soloing alone is significantly more difficult then soloing over music (in my opinion). Nevertheless, this week we're gonna take a look at both types of solos.

Question: I think they taught me this in like second grade, but anyways – what do all great stories have?
The answer I was thinking of is: a beginning, middle, and end.

The solos we're about to take a look at are extraordinary demonstrations of this rule. The first piece of music is about ten minutes long (taking place towards the back end of a 20 minute song) – and is split between a piano solo and drum solo (both of which are done 'over' the music).
In both solos (piano, and then drums) – simply listen to ONE thing –> The way the artist BUILDS UP HIS SOLO.

Both the piano player, as well as the drummer, take control of the music, set the mood and tone for what is about to happen, i.e. they create a 'beginning,' and capture the audiences attention.
The middle is used to setup the ending, and the ending is used to conclude what all just happened – and endings are typically the climax of the solo (as they are in both of these examples).

It's very simple stuff in theory, very difficult to do in reality – especially this well. Another truly impressive aspect of what you're about to see is how well the drummer compliments what the piano player is doing during his solo... and again, this very well might be my favorite ten minutes of music, ever. Enjoy:
http://www.youtube.com/watch?v=O3MiGbJBtjs

The third solo we're going to listen to is a drum solo, without background musicians (ouch, so hard to do!). Same deal applies here though... starts out real slow... sets the mood, and he tells a story with the drums. Talent only gets you so far, speed only gets you so far, showmanship only gets you so far... if you want to be truly impressive, you best feel the music and tell a damn story. Enjoy:
http://www.youtube.com/watch?v=1BxR6Rwh9H8

Buena Vista Social Club

noreply@blogger.com (Greg Runco) — Mon, 26 Jan 2009 02:42:00 +0000

Buena Vista Social Club is one of those albums that everyone needs to hear about, if you haven’t already. It is quintessential Cuba, and it is awesome. The music is the embodiment of the golden age of Cuban music from the 30’s to 50’s. The recording was inspired by the social club in the 1940’s, of the same name, which held dances and musical activities and was a gathering spot for the musicians of the times. The club was shut down after the communist revolution in 1959, whose government effectively abolished all cultural and social centers in Cuba.

Almost 50 years after the club was closed, this recording was formed. The band included up to twenty musicians of the traditional Cuban musical style. And it was a huge success. Afterwards the interest in Cuban music and Latin music exploded. Today you can hear Buena Vista’s music played in clubs all over the world. Original members, who have traveled far and wide, spend warm summer nights playing their music and enticing dance and passion in nightclubs and beach clubs in locations such as Spain, the Netherlands, and Turkey. Their music does nothing if not boil your blood and give you heated visions of dancing under dim lights and musky nights.

Their musical repertoire is so large and all of it is so fantastic that is impossible to pick out one or two songs to share with you. So I’ve chosen my three favorites off of their self-titled album as more of an introduction than anything else. Their titles are: Chan Chan, Dos Gardenias, and El Carretero. I won’t go into to much description of each song, as I feel that I already said what I could about their music and any more would just take away from the experience.

Cihan

http://www.youtube.com/watch?v=NxtM_81xeP0

Paris Zax - Way Ahead (Cihan's Corner)

noreply@blogger.com (Greg Runco) — Mon, 26 Jan 2009 02:36:00 +0000

This week’s song is Way Ahead, by the artist Paris Zax. The song is off his album, Unpath’d Waters. Though I don’t know much about the album itself, researching it has put me at ease that the rest of his music should at least reach the quality level of the song that I’m presenting.

The song starts of with an eerie echoing melody, reverberating seemingly endlessly before the music falls into beat. Right at the crest of the introduction, the vocals come in, and though I haven’t been able to confirm the speaker in the song, I’m pretty sure it’s Tommy Chong. Whoever it is, his voice melds into the music as if it was meant to be.

The song is slow, lonely, languidly rhapsodic, and downright perfect. It’s the song you play at the end of the night; the song you play as you take the last drag; the song you play as you slip back into your seat and blow into oblivion. When the guitar wails in you feel as if the mystic has been let loose and you have been cut free.

I think this is one of those pieces that you wish could go on forever, but at the same time you know that it’s at the perfect length, and anymore would just take away from the charm and mystique.

Anyway, for those looking for something to enhance their trip, this is the song for you.

Enjoy,
Cihan

http://www.youtube.com/watch?v=FE74kWhffOw&feature=channel_page

Rahman Jamaal

noreply@blogger.com (Greg Runco) — Mon, 26 Jan 2009 02:28:00 +0000

before the new year I/we left off doing a series of write-ups on hip-hop artists…

so on that note - this week I’m very excited to introduce a hip hop artist that I discovered randomly one day while I was ‘surfing the web.’ I was on the pittsburgh jazz network’s website (an amazing website with lots of interesting things), which lead me to another, to another, and then I landed on this artists myspace page.

His name is Rahman Jamaal. Let me just get straight to why I like this guy:

a) extremely versatile
He delivers his lyrics in a number of different styles. I’ve heard ‘classic’ sounding hip hop songs of his (ex: “Average Neighborhood”)
-- to him rapping over classical music in, “This Isn’t Art,”
-- and then his ‘Jazz Hop’ album where Rahman is accompanied with drums and bass… and they (as the title implies) combine hip hop with jazz.

b) his lyrics
They demand respect. Once you start listening you find yourself paying closer and closer attention cause they’re entertaining – plain and simple.

So, this week’s first song is titled “Nature” and should be featured at the end of an Entourage episode. At least that’s what I thought right when I started listening for the first time.
As you get a bit further into the song it sounds like the drummer is using hot rods (providing a much softer sound than drum sticks)… and he’s on the ride cymbal (which is low in volume but definitely serving its purpose). The bass line is jazzy/funky and will remind you of mmw’s bassist if you listen to them at all. The first verse starts and you can tell they have something special going on… cause the delivery of the lyrics matches the music absurdly well.
The middle of the song is made-up of a drum/bass solo that – although certainly rehearsed – probably involved a decent amount of improvisation. There’s a nice walking bass line… and another thing to note here is that the drummer keeps his hi-hat on the same pattern throughout the solo which is a minor detail but something I respect in this scenario… and lastly I like his use of the china cymbal – easily observable at the very end of the song but taking place in other parts as well.
After the instrumental part Rahman Jamaal comes back in a professional manner and takes the song to a solid ending...

The second song I have for you is cool cause the lyrics are entertaining, it’s titled ‘Gender Bender.’ The subject of the song is addressed in his refrain: “what would happen if the entire world flipped, and God played a trick where guys and girls switched… everything stayed the same but dicks became clits and sex shifted to exist as its opposite.” At first I thought I’d try and explain the song in my own words but realized I sounded half retarded and figured it would be best to just let the lyrics speak for them self.
Anyways they’re sort of R rated I suppose… but I don’t think they’re meant to be taken too seriously, just to entertain and perhaps make you think about things a little bit.

AND – a special thanks to Rahman Jamaal himself… I couldn’t find Gender Bender in mp3 format anywhere, so I emailed him all last minute (on Friday I think) and he got back to me and hooked it up… so thanks again. And you can hear more of his music at either of the websites below…
http://www.johnlindberg.com/LindyEditions/JazzHopRevolution.html
www.myspace.com/rahmanjamaal

Enjoy:

http://www.youtube.com/watch?v=4fQDnfuKF20&feature=channel

It is Christmas in the heart that puts Christmas in the air

noreply@blogger.com (Greg Runco) — Sun, 21 Dec 2008 08:24:00 +0000

Welcome to the 2008 Christmas special – the 2nd annual, I might add.

But first, Happy Holidays to all the rwm readers out there! A lot of you I know personally… so just wanted to take this time to say – I sincerely hope all is well… and that you’re enjoying this truly special time of the year with your friends and family.
I’d also like to thank you for reading, providing feedback, and recommending others to the list. Not a week has gone by where I haven’t had a fun time working on this little project… and it wouldn’t be the same without people like you opening up your mind over the weekend to some of the talented artists we’ve explored. I sincerely hope our recommendations have fueled your curiosity into this wonderful art form so many of us love, music!

December 21, 2008

“Music is mostly silence. And if you don’t appreciate the fact that its mostly silence… when you make a sound you’re interrupting the silence. Don’t interrupt it unless you’re gonna do it with something meaningful or beautiful. Otherwise leave it alone. But we have a sense that the notes are the music, and we ignore the value of the silence that is the womb within which all of it takes place.”
- Dr. Nelson Harrison, veteran trombonist of the Count Basie Orchestra during his highly fascinating interview on the Metaphysics of Music – which you can find on youtube

I’ve been waiting to use that quote for the proper song – and I think I found it with this week’s first Christmas selection, Duke Ellington’s ‘Sugar Rum Cherry’ – a cover of, ‘Dance of the Sugar Plum Fairy,’ a well-known tune from The Nutcracker. A local DJ by the name of J Malls – a CMU grad actually, laid this track down at Ava and I was feelin it big time.
From the drummer, who never strays from his perfectly designed rhythm… to the solo you hear towards the middle of the tune – the absence of unnecessary sound is beautiful. There is not a single needless note – each one adds something of true significance to the song, and the end result is a magical Christmas masterpiece worthy of the top spot in the 2008 Christmas special…

And for the second selection – a lighter song that for whatever reason really puts me in the happy Christmas state of mind… I can only hope it does the same for you.
It’s weird cause as much as I love Vince Guaraldi and firmly believe the soundtrack from A Charlie Brown Christmas is the ultimate holiday album… some of those songs can at times be a bit blue… whereas this song just gives off that awesome Christmas vibe that makes you want to throw snow balls and sled ride…

As always, enjoy – and Merry Christmas!
- Runco

http://www.youtube.com/watch?v=PZqNB2vnYGQ

p.s. – J Malls, the DJ I mentioned above… has been gracious enough to recommend a couple sweet Christmas hip hop songs to compliment the rwm hip hop series we’ve kicked off… and I’ll be sending these out for ya between now and Christmas… so stay tuned!

part I of a lil hip hop series - Danger Mouse and MF DOOM

noreply@blogger.com (Greg Runco) — Tue, 16 Dec 2008 01:22:00 +0000

Danger Mouse and MF DOOM
Category: Hip-Hop collaboration

This week’s review concentrates on a collaboration between the DJ/producer Danger Mouse and the rapper MF Doom. The album I would like to present is called DANGERDOOM and is filled with material relating to Adult Swim and its various cartoon shows. Some characters that you hear from, or about, come from Aqua Teen Hunger Force, Family Guy, and Harvey Birdman Attorney at law.

MF Doom and Danger Mouse have collaborated before, and listeners might recognize Doom from the Gorillaz’s song November Has Come, off the Demon Days album. He’s got a pretty distinctive voice that is less singing than it is a poetic reading. And to top it off, Doom has the singular ability to rap in complete nonsense. It’s an incredible talent that I can’t get enough when I listen to this album. Every word is legitimate, from the English dictionary, and you can follow what he is saying, it just makes no sense whatsoever. Perhaps there is an underlying theme that isn’t immediately obvious and Doom is just presenting an easily decipherable cover, but what I hear are words that, though they connect to the words that come immediately before and after, make no sense together as a sentence. And it sounds damn good: The beats are solid, the songs are fun, and DangerDoom have some great guest singers (Talib Kweli and Meatwad to name a few) making appearances. And because it’s impossible to understand him, each time you listen to the music it’s like discovering the album for the first time.

The first song I’d like to present, Benzie Box, is a great example of Doom’s nonsensical rapping. The only other useful piece of information I can offer is that it features Cee-Lo. Other than that, you’re just going to have to listen and enjoy.

And the only thing I’ll say about the second song, A.T.H.F., is that it will be a treat for any of the Aqua Teen fans on RWM.

Enjoy, Cihan:

http://www.youtube.com/watch?v=yvQThur2Mv0

Interesting stuff -- suggested by Zombo of WRCT 88.3 FM…

noreply@blogger.com (Greg Runco) — Mon, 08 Dec 2008 03:55:00 +0000

So this week I'm happy to present music that was suggested by Zombo, aka Michael Devine. He is the founder of neat place in Lawrenceville called Zombo Gallery that I was lucky enough to visit while it was showcasing a variety of nationally known ink cartoonists. He also has his own radio show on WRCT 88.3 FM every Friday from 10AM to 3PM…described as featuring, "early '50s R&B, roots rock, jump blues, '60s garage, instrumental surf music, electronic lounge music, & vintage electronic music…" He can also be found DJ'ing live events…

This week Michael Devine provides us with three album reviews – and though I'm only featuring the music from one of them (the third one)… I've included all three below so that you can investigate the other two on your own time.
Thank you very much for the write-ups Michael - greatly appreciated…

"#1 Dave Brubeck Quartet…On the Radio 1956-57
The original cool Jazz cat has a nice and smooth live disc out now. It's nice that they left the original radio announcer introductions on the album. It gives it an archival feel. There are a lot of standards on here like "Stardust" and "The Trolley Song". But naturally they have the Brubeck swing to them. "A Minor Thing" is the off-beat gem on this very palatable album.

#2 Jarboe and Justin Broadrick….J2
You can expect something creepy from Ex-Swans femme fatale, Jarboe. This release has an abundance of goth minimalism and Diamanda Galas like vocals. It has a similarity to the 80's duo "Suicide". It's an interesting, but unsettling release. And in all honesty, the track "Tribal Limo" is nearly unlistenable. But "Decay" and Let Go" almost cross into Cocteau Twins territory.

#3 -- FEATURED this week:
Holly Golightly and the Brokeoffs…Dirt Don't Hurt
This is an incredibly consistent album. Not a bum track on the whole disc. Holly and her latest collaborator Lawyer Dave serve up a Neko Case style alt country classic with Tom Waits junkyard percussion arrangements. A simple masterpiece. This is easily her best record to date. The songs are direct and simple like Hank William Sr. and ingeniously executed.
Prime cuts are Three Times Under, Getting High for Jesus and Burn your Fun."

This weeks first song is Burn Your Fun, and the second is titled Bottom Below… and I couldn't agree more with the review – Getting High for Jesus and Three Times Under are worth investigating if you like what you hear…

Enjoy:

http://www.youtube.com/watch?v=c_CFyTyWF1s

Django Reinhardt and jazz guitar - Cihan's Corner

noreply@blogger.com (Greg Runco) — Mon, 01 Dec 2008 04:14:00 +0000

This week’s artist takes us all the way back to 1930’s France, and a man who has astounded the musical world with his skill and innovation in the face of tremendous difficulties. Django Reinhardt was born into gypsy life in 1910, on the outskirts of Paris. Though part of the open air, rambling lifestyle, Django had the soul of a nobleman and a presence that commanded respect. He had an incredible proclivity for music, and at age 12 he received his first guitar. Mimicking musicians he’d watched, Django became astonishingly adept at the instrument and by the age of 13 he had started his musical career in outlying Paris cafés and bars.

However, at the age of 18, the caravan he lived in caught fire, trapping him and his first wife. The fire left Django badly scarred on both the right and left side of his body. The bottom two fingers of his left hand were permanently ruined, and his right leg looked as if it needed to be amputated. However, through extreme strength of will, Django persevered, and in spite of his tribulations, he managed to relearn the guitar, creating a new playing style using only the first two fingers of his left hand for both chord play and improvisation.

Django was deeply influenced by jazz musicians such as Dizzy Gillespie, Duke Ellington, and Louis Armstrong. Combining their fast paced jazz styles with his own knowledge of French music and gypsy heritage, Django created an entirely new style of jazz music, who’s influence can still be felt in today’s world. Django was a master of improvisation, rarely playing the same solo twice, and his skill as composer was not far behind. Many of his songs are melodically beautiful and sophisticated.

The first song I’d like to introduce was presented in the movie “Chocolat”. If you’ve ever seen the movie, then you might remember the scene where Johnny Depp and his river gypsies throw a big party, which eventually ends in a conflagration (maybe as a tribute to Django’s experience many years before). In the scene, Depp starts the party off by grabbing an old guitar and launching into one of Django’s classic songs: “Minor Swing”. This song might be one of my favorite jazz-guitar songs of all time.

The second song is slower in nature and is Django’s recording of an old Charles Tenet classic, “La Mer”. It is better known among English audiences as “Beyond the Sea”, performed by Bobby Darin. Regardless, Django’s rendition is beautiful and moving in its own right, and deserves its own spotlight.

http://www.youtube.com/watch?v=pLopIW_brqU

Miriam Makeba - Mama Afrika, March 1932 – Nov 10, 2008

noreply@blogger.com (Greg Runco) — Sun, 23 Nov 2008 16:05:00 +0000

Last Saturday thousands of people gathered to hold a public memorial for Miriam Makeba, one of Africa’s best known singers – who died backstage at a concert to benefit an Italian journalist and writer threatened with death by the Mafia. She had a heart attack after performing one her most popular songs, Pata Pata. She was 76 years old.
One news source reported her death, ‘sent shock waves through South Africa… where callers flooded local radio stations with their recollections of her...’

In his letter of tribute, former South African President Nelson Mandela said it was, ‘fitting her last moments were spent on a stage enriching the hearts and lives of others - and again, in support of a good cause... Her music inspired a powerful sense of hope in all of us.’

Miriam Makeba embodied the pan-Africanist spirit of the 1960s when she burst onto the international stage and unwittingly became the voice and symbol of the anti-apartheid struggle in South Africa.
Sadly, while on tour in the U.S. Makeba had her passport revoked after she was featured in a documentary that criticized apartheid… and she was banned from returning home to attend her mother’s funeral. She was just 27 at the time and wouldn't see South Africa again for decades.

"It was very painful for me not to go back home. Mostly it was painful that I couldn't come home to bury my mother. But, you know, in life you make choices. You say, OK, are you going to sit here, Miriam Makeba, and say 'I'm a star' and forget about home? Or do you decide to say 'I'm a South African and this is what is happening to our people' and so on? And I made that decision. And from then on, I was branded that artist who sings politics."
---
Up until recently, I had not explored Makeba as much as some of her female contemporaries, such fifteen-time Grammy Award nominated – Nina Simone, and Odetta… who was featured on RWM September 28, 08.

However as certain news sources brought attention to Makeba’s death – depicting events of tribute and illustrating the vast number of lives she has touched… I was inspired to develop a truer understanding for her music.

And now I’d like to present three of her songs to you this week.
Are they her best songs? Probably not. But – two of them are her more popular songs; they are the songs that peaked the interest of millions of people in the 60’s… and they are the songs I too first stumbled upon in my search, leading me further down a path of discovery that has been quite an enriching experience. I hope they spark your interest in much the same way…

The first song you’ll hear is titled The Click Song. It has a really fun and simple – but very catchy – piano part complimented with a hint of guitar, African percussion, and violin. The song incorporates all the different tongue clicks typical of the Xhosa Language.

The Click Song quickly fades into the second song – which is not as commonly known as the other two – but is my favorite of the three. It’s titled Soweto Blues, and was written for her by South African trumpeter, Hugh Masekela – who I believe is playing on this particular recording. The song is taken from Paul Simon’s, “Graceland: The African Concert,” which was recorded live in 1987 at the climactic performance of the tour of Zimbabwe. I really enjoy the percussion section (you’ll hear a variety of sounds coming from them, including a whistle, wood blocks, timbales, and wind chimes among others). I’ll also note that Makeba is accompanied by three female backup vocalists, who although sing beautifully, are describing the shooting of children in 1966, as the lyrics of the chorus translate to, “where were you men when the children were facing guns and throwing stones.”

Finally, Soweto Blues fades into Pata Pata – Xhosa for “Touch Touch,” describing a township dance. It’s arguably her most popular song, probably because it’s just a really fun song… in much the same way as The Click Song.

I hope you enjoy them… and if you do, I recommend you check out some of her live performances.

http://www.youtube.com/watch?v=tGozShA8jVI

Cihan's Corner - Squirrel Nut Zippers Review

noreply@blogger.com (Greg Runco) — Mon, 17 Nov 2008 16:35:00 +0000

"An open mind leaves a chance for someone to drop a worthwhile thought in it"

Thanks for the write-up Cihan – greatly appreciated.

Squirrel Nut Zippers Review

I have to give thanks to my sister for introducing me to this next band. She's into a very bohemian music scene right now and I am just reaping the benefits.
The group is called the Squirrel Nut Zippers. They started in 1993 out of North Carolina, and provide a fantastic blend of different Southern musical styles including delta blues, 30's style jazz, and gypsy jazz.
Various instruments, including banjos and fiddles, combine with a variety of eclectic voices to provide them with, as their website describes, a "perpetually evolving, hybrid-stew… aptly tagged as '30s punk'." Their sound is new (or old), edgy, and a little dark and dangerous. But while their music is different from anything mainstream you might hear today, it is still of top quality.

As I am constantly searching for new music, I know it can take time to get accustomed to a new sound- especially one you weren't prepared for. But I had no problem jumping right into the delightful worlds these guys create in every song. They have the ability to transport you to a different era. And whether you like it or not, nostalgia for something you never knew about will sneak up and grip you tight.
As a new initiate, I am still discovering all that this band has to offer, so without further comment I would like to introduce the two songs that first got me hooked.

The first, "St. Louis Cemetery Blues", has a great New Orleans jazz feel, and I think it provides everything you could want from a blues-jazz piece- from the singer's rough, almost laughing, drawl to the weeping violin to the delta twang of the guitar accompaniment. It kind of makes you want to sway around the room.

The second song, "Blue Angel", introduces the voice of the lead female singer, Katherine Whalen. Though the song holds a slower pace, her presence is captivating, and expertly combines with the violin's dark wail to bring forth flashes of gypsy camps and feverish nights of dancing and debauchery.

Finally, a song that isn't available on RWM, but that you can easily find on YouTube, is "The Ghost of Stephen Foster". This song is so different and fun and gritty, I highly recommend it- it is one of my favorites (And the music video was made by creator of the Simpsons).

Hope you enjoy.

Cihan

http://www.youtube.com/watch?v=nzd3hfc9W5w

Jon Brion... musician, singer, songwriter, composer, & record producer

noreply@blogger.com (Greg Runco) — Tue, 11 Nov 2008 17:45:00 +0000

I got a lot of great feedback on last weeks songs – by Mason Jennings… all very positive – so thanks again Cihan. And I know Cihan has another artist lined up – probably going out next week… so we’ll have that to look forward to. I also have a couple local DJ’s that will be doing some write-ups – which I expect to be pretty interesting.

Nevertheless, since ppl enjoyed last weeks tune I thought I’d hit you with something along the same lines… same genre, I mean.

Jon Brion may be most famous for the Eternal Sunshine of the Spotless Mind film score. For those that have seen the movie – you may recall the music was fantastic.

He grew up in Glen Ridge, New Jersey – came from a family of musicians… his mom was a jazz singer, dad was a band director at Yale… and his brother became a violin composer while his sister became a violin arranger. He left formal education at the age of 17 to pursue music – a risky move, but it’s certainly paid off for him.

I know he plays a bunch of different instruments; definitely piano, keyboard, and drums. And he can be found performing Friday nights at the Los Angeles club Largo… which has a really cool website featuring the music of Brion and others:

http://www.largo-la.com/largohome.html
I definitely recommend checking out some of these songs.

Apparently a little while back he had to cancel a bunch of shows though b/c he had tendonitis in his left hand… and he did a farewell show with his typical ‘looping’ of tracks – and was able to play piano and drums with one hand.

Among others, here are a couple projects he’s worked on:
(as producer)
Elliott Smith – ‘From a Basement on the Hill.’
Kanye West – ‘Graduation’ & ‘Late Registration.’
Fiona Apple – ‘When the Pawn…’ & and ‘Extraordinary Machine’

(Film Scores)
Punch Drunk Love
Magnolia
Eternal Sunshine of the Spotless Mind
The Breakup

An interesting thing about a lot of his pieces (on Eternal Sunshine of the Spotless Mind, at least) is that they’re very short in length. One reader who told me Jon Brion is his favorite piano player – also said that’s one thing he actually likes a lot about his music… he’s able to accomplish so much with his music in such a short period, while at the same time the length really keeps coming back for more.

So I have two songs for you. The first is called “Here We Go” from Punch Drunk Love (and there is a version on that website above that is only piano and vocal – also very good, in fact, I think it’s a live recording).
The second is one of his shorter pieces (about a minute long) – and it’s titled “Row” from Eternal Sunshine of the Spotless Mind.

Enjoy:

http://www.youtube.com/watch?v=EKsMWYZ2Y-s

Mason Jennings Review

noreply@blogger.com (Greg Runco) — Mon, 03 Nov 2008 01:54:00 +0000

This week my friend Cihan did the write-up... he really has a nice library of music that he'll be sharing - hopefully a lot - in the near future... thus, 'Cihan's Corner.'
Enjoy:

Mason Jennings Review

Two years ago I was introduced to a certain singer/songwriter that has had an enormous influence on my musical lifestyle. He's practically hijacked my computer and IPod. And while I know that many people hold onto old music or favorites, I've listened to this singer practically every day without fail. In fact, the more I listen, the better the music comes to sound.

His name is Mason Jennings. He was born in Hawaii, grew up in the North Hills of Pittsburgh, and moved to Minneapolis to continue his career. His music is simple, clean, elegant, poignant, and wonderfully refreshing to listen. He is a pop-folk singer/songwriter with one of the most unique voices I've ever heard. In fact, his voice is what makes his music. Most of the songs are a few chords, nothing fancy, reminiscent of older style folk music, but his voice adds that special ingredient that's kept me coming back to him time and time again. It's hard to describe a voice in any sort of way that does justice. So I'm not going to try and rather let the listeners find out for themselves.

He started creating music at home, playing all the instruments himself. Now he's signed on with Jack Johnson's Brushfire Records, after Jack personally recruited him. Mason has released six full-length albums, and a few smaller EPs, all of which are worthy in their own right. I know because I've bought all six, and then downloaded anything else I could find. I was lucky enough to go see him perform in New York and Philadelphia, and was delighted to find that everything you hear in his albums, you hear on stage. There is no digital editing that makes him sound better than he actually is. It's all real, and all good.

His music covers a range of topics from politics to religion to moving short stories moving told in first person narratives. And all of it is interesting to listen to. There are musicians today that sound great, but can be left as background music without any loss. But for Mason, regardless what the song is about, his lyrics are so good that they deserve the listener's attention. He has the powerful ability to express so much in so few words. And it's astonishing at times to see how easily he can bring out emotions.

It's hard to choose one song that expresses him best, for even though much of his music has the same style, each of his songs are unique. The first, Jackson Square, is a pretty powerful piece, especially when you compare the weight of his words with the lightness of the song's music. The second, Forgiveness, is slower and one that I think is a great example of the power of his voice. Enjoy.

http://www.youtube.com/watch?v=KUFyL1yU8Ew

RWM and the Upcoming Presidential Election Part II

noreply@blogger.com (Greg Runco) — Sun, 12 Oct 2008 23:01:00 +0000

Education, the Arts, and the Presidential Race

It certainly seems as though we're living through a significant period in time. Though we're making amazing strides in fields such as science, technology and medicine, the misfortunes taking place around the world appear to be outweighing our triumphs.
- Financial markets are crashing
- wars are being fought and innocent people are dieing,
- people are starving,
- pollution is ruining our planet,
- the gap between rich and poor in the US is the highest ever recorded… the list goes on and on, and everyone is kinda thinking, 'somebody has to change the direction we're going.' Conveniently, we now have two opposing groups of people debating these issues… issues that affect our country and the world; as we witness this presidential race unfold before us. What's awkward is that at this important time, the one thing I personally want to see out of the candidates more than anything else is honesty and truth, and at times it seems we're getting the opposite – and I don't understand why.

The United States is obviously severely strained economically and I think both candidates understand they cannot accomplish a lot of the things they claim they will. They're knowingly setting unrealistic expectations. Would it really be political suicide to be realistic, and perhaps more importantly, focus on more feasible goals?
For example, I'm disappointed that education as a topic of discussion has barely surfaced during this presidential race. Allow me to explain…
I was recently passed an article from a former professor of mine that included some of the following statistics:
- nearly one in three public high school students in the US won't graduate
- the dropout rate is worse for Latinos and African Americans, around 50%
- the learning gap between the United States and its competitors in Europe and Asia is widening (with the US ranking in the bottom half in reading/math among 41 countries tested)
- yet, the United States was at the TOP in per capita education expenditure, also cited as having the poorest outcomes per dollar SPENT on education.

So it would appear education is one area where we could actually make great strides over the next several years… after all, we don't necessarily need $$ to make progress (given countries spending less are passing us by) but rather, a better process/framework for our educational system.

The professor that passed me this article works in the music department at CMU – and what's interesting about it is that it examines two countries ranking at the top in science and reading (New Zealand and Finland)… both of which:
-- 'regard arts and music as crucial for the neurological development of children.'
-- And Finland actually requires all students to take 7 years of music coursework.

As we all know music/art education in the US is not taken seriously. As evidence, I just pulled the following off the Pittsburgh Public School Music Education Association website, from their 'meeting notes:'
- No music courses offered at Arsenal Middle (0 chorus, 0 instrumental, 0 general music)
- No music courses offered at Peabody High School (0 chorus, 0 instrumental, 0 general music)
- No music courses offered at Elementary Gifted Program
- No music courses offered at Middle School Gifted Program… etc.

I obviously believe music and art are very important aspects of our culture and it's sad to see them undervalued. What's worst of all is that it doesn't have to be like this… other countries have clearly found superior ways of investing in the education of their youth, and investing in the arts – and they're doing all this with less money. Meanwhile we're closing in a what is a very important election at a very important time and we have two parties setting absurd expectations and focusing on problems we don't have the resources to solve.

So what happens when a focus and investment towards the arts drops off? Well, I would say that appreciation for the arts diminishes, it negatively impacts our culture, and citizens of New Zealand and Finland, for instance, as well as many researchers that study brain development would go as far as saying it negatively impacts overall learning.

Nevertheless, I met up with a friend this weekend that I used to play music with. He now studies music performance at Duquesne. He played me a really great song on his computer (this weeks RWM music song)… and to my surprise midway thru I found out he was the one playing guitar on the track, along with a fellow classmate who was singing. I asked him what he planned on doing after college and what most of the students in his department do, and he said they primarily go for their masters and teach because it's difficult to make a career out of simply playing your instrument. Now don't get me wrong it's hard to be a musician anywhere you go, but other countries do have a deeper appreciation than we do in the US.

Bottom line… I sincerely hope whoever wins this election is able to turn things around for the country... and taking a serious look at our educational system (including the arts!) would be a big step in the right direction. It's a failed system that presents our country with a problem that can realistically be solved, the outcome (success or failure) of which having significant implications into the cultural and economic fate of the United States.
It would be a truly disappointing time when outstanding music like you're about to hear is no longer echoing through university hallways with the regularity that it is today.

"My Funny Valentine" composed by Richard Rogers and Lorenz Hart
Pat Santavicca, guitar
Anna Ciaccio, vocals

Enjoy:

http://www.youtube.com/watch?v=_Gr5ujzK7es

Quick note on music and memories

noreply@blogger.com (Greg Runco) — Sun, 05 Oct 2008 17:37:00 +0000

I really like how music can basically define a moment in your life. For example, I was watching a movie this weekend and a song came on in the background – and boom I was immediately reminded of this one summer trip to the beach I went on with my friend. It was basically the theme song of the entire vacation… we must have listened to it easily 30 times – it was basically on repeat whenever we would drive around the little town at night.

I have about a handful of songs like that – as soon as they come on I can’t help but think of a certain time / place / person. And thankfully I don’t have any songs that remind me of something bad that has happened – so that’s cool.
I’d imagine there are people out there that can’t say the same… like , ‘ahhh this song was playing that night I slipped on the dance floor at that fraternity and sprained my ankle!’ or, ‘damn this song was playing in the background that night I hooked up with the nasty chick from down the street – please turn it off immediately.’ I suppose that’s the downside… songs that remind you of really absurd moments in your life.
Not surprisingly there is scientific research into this sort of thing. Neuroscience researchers have studied the relationship between music and memories. The basic finding is that music hooks deep into emotions and memories in ways that words do not… it opens networks and pathways that you can’t get to via language. They’ve also found that when you experience chills from music there is a huge range of activity all over the brain… one neuroscientist described the brain as, “lighting up like a Christmas tree.”
And then I’m sure you’ve heard the stories of people that have suffered from strokes and Alzheimer’s that can’t talk or remember anything, but yet there will be a certain song and when it comes on they can all of the sudden sing and recite all the lyrics perfectly.
There was also a research project done at the University of Wisconsin on how music is the, ‘highway into Vietnam veterans’ memories of the war.’

But yea all my songs remind me of pretty legit places and times and that is really what this write-up is about... it’s a tribute to those special moments and the music that defines them, and a wish from me to you that you have many more.

http://www.youtube.com/watch?v=KLp2PHnPhJE

-
btw i didn't send out an email this week just posted it up here

Had to go all the way to Russia for this week’s song (sort of)

noreply@blogger.com (Greg Runco) — Mon, 29 Sep 2008 00:44:00 +0000

Yup – I definitely have a rare one for you this week. Continuing with last week’s ‘economic’ theme… I have a cover of, ‘Brother, can you spare a dime?’ which is one of the best known American songs from the Great Depression.

Also similar to last week’s song, this is a very popular cover song.
Wikie states, “It was originally written by E.Y. Harburg – but was made popular by Bing Crosby, whose version came to be viewed as an anthem for the shattered dreams of an era.”

Other versions later came from artists such as Peter, Paul & Mary, Tom Waits, Dave Brubeck, and George Michael, to name a few.

- iTunes has 106 different versions of the song
- Amazon has 92 versions

BUT – neither iTunes nor Amazon have the version that I just got. I had to resort to using some absurdly shady mp3 website based out of Russia, called Millisong, to get this version. “How is it shady,” you ask? Well… here is an excerpt from the homepage:

“Why have you become a visitor of the MILLISONG.com? The answer is obvious. You are coming here to find some mp3 music and download music online, are you? We are ready to provide you with a perfect choice of facilities concerning download mp3 music… Since all your music downloads live on your computer, you can play it… Register and go ahead. Welcome!”

Additionally, the homepage includes a picture of a young lady, wearing headphones, topless – I might add – with a grin on her face, obviously enjoying an mp3 recently purchased from Millisong.com.

So naturally I was rather hesitant to provide them with my debit card info… but after some brief deliberation I was just like, what the hell – I’ll risk it for the loyal RWM readers out there. : )

- The song took 10 minutes to download (Amazon takes about 10 seconds)
- And I somehow ended up paying like 5 bucks for it.
- But, surprisingly the song did actually download to my computer – and as it automatically opened up in iTunes and my headphones flooded with music – I totally shared in the joyous sentiment conveyed by the topless Russian girl. I’ve already sent Millisong a customer testimonial.

So – who sings this song that I was willing to risk my bank account on…

Two people actually… the first artist to appear on the track is Dr. John – a blues musician/pianist/songwriter from New Orleans, born November 21, 1940. He started his career as a guitar player but switched to piano after injuring his left ring finger protecting his band mate, allegedly from a gunshot. From wiki, “He gained fame in the late 1960’s and early 1970’s with music that combined New Orleans style rhythm and blues with psychedelic rock and elaborate stage shows that bordered on ‘voodoo’ religious ceremonies, including elaborate costumes… He is perhaps best known for ‘Dr. John’s Gumbo,’ which is considered a cornerstone in New Orleans music.”

The second singer on the track is Odetta – born 1930 in Alabama, she is an, “African-American singer, actress, guitarist, songwriter, and a human rights activist, often referred to as ‘The Voice of the Civil Rights Movement.’ She is considered to be an influence on many artists, perhaps most notably Bob Dylan. In 1961 Martin Luther King Jr. anointed her, ‘The Queen of American Folk Music,’ and poet Maya Angelou once said,

‘If only one could be sure that every 50 years a voice and a soul like Odetta's would come along, the centuries would pass so quickly and painlessly we would hardly recognize time.’

Now, I believe Dr. John and Odetta have created a masterpiece with this song, I truly do, and for a number of reasons.

The first of which is the gripping intro.

Dr. John digs into the piano and all of the sudden you’re tossed into a melancholy place and time…

His voice cuts through the music and is very genuine in nature – as he sings rather dramatic lyrics describing the sentiment of a man down on his luck, with no money, no food, and no job.

They say only certain people can sing the blues, and songs like this remind me of that.

The drummer and bassist work very well together… keeping things very tight throughout the track – very smooth, crisp, clean, and defined… with the drummer tactfully switching between brushes and sticks. And the guitar player really adds to the gloomy mood of the song.

When Odetta enters with her vocal I’m taken back a bit. Her voice, if you pay close attention, is like nothing you’ll ever hear again. I’d describe it as full, rich, and powerful… and it has a sophistication about it that is really hard to describe. So I’ll just go ahead and say I think the poets’ comments above are warranted.

There are also some really nice background vocals (perhaps done by Odetta)… wonderful piano throughout from Dr. John – and a dirty little piano solo towards the end of the song.

If you’re going to listen, I suggest you read the lyrics first (which I’ve included below) and then grab some head phones and listen at a time when you can lay back, clear your mind and pay attention – and I personally didn’t get the full effect till I closed my eyes. By the end of the song you’ll feel a genuine sympathy towards the individual that is depicted throughout the song.

This version of, ‘Brother, can you spare a dime?’ captures a mood and a feeling (which in this case is the feeling of a man struggling through the Great Depression) perhaps like no other song I’ve ever heard.

http://www.youtube.com/watch?v=Handlxv4iIU

They used to tell me
I was building a dream.
And so I followed the mob
When there was earth to plow
Or guns to bear
I was always there
Right on the job.
They used to tell me
I was building a dream
With peace and glory ahead.
Why should I be standing in line
Just waiting for bread?
Once I built a railroad
I made it run
Made it race against time.
Once I built a railroad
Now it's done
Brother, can you spare a dime?
Once I built a tower up to the sun
Brick and rivet and lime.
Once I built a tower,
Now it's done.
Brother, can you spare a dime?
Once in khaki suits
Gee we looked swell
Full of that yankee doodle dee dum.
Half a million boots went sloggin' through hell
And I was the kid with the drum!
Say don't you remember?
They called me Al.
It was Al all the time.
Why don't you remember?
I'm your pal.
Say buddy, can you spare a dime?
Once in khaki suits,
Ah, gee we looked swell
Full of that yankee doodle dee dum!
Half a million boots went sloggin' through hell
And I was the kid with the drum!
Oh, say don't you remember?
They called me Al.
It was Al all the time.
Say, don't you remember?
I'm your pal.
Buddy, can you spare a dime?

The best things in life are free

noreply@blogger.com (Greg Runco) — Sat, 20 Sep 2008 23:24:00 +0000

So this past week has been kinda crazy… Lehman filed for the largest bankruptcy in US history, listing debts of $613 billion dollars. AND, the US government has already committed $285 billion to
bail out
mortgage lenders (Fannie Mae and Freddie Mac) and insurer AIG – But, Economists are saying the cost of resolving the crisis could reach 1 TRILLION dollars… which is quite a staggering figure when considering the US government spending in 2007 was 2.7 trillion.

That being said, I have two songs for you that are very fitting… one of which is infamous, and the other – not as much.

The first song you’ll here was released in 1959 by Barrett Strong.
- It made #23 on the US pop charts and was listed #288 on, “Rolling Stone’s 500 Greatest Songs of All Time.”
- It is covered by a ridiculously amazing group of bands and musicians, including:

- Boyz II Men
- The Doors
- Buddy Guy
- The Beatles
- John Lennon
- Dave Matthews Band
- The Rolling Stones
- Led Zeppelin
- Pearl Jam
- The Flying Lizards
- The Smashing Pumpkins
- The Supremes
- Jr. Walker & the All Stars
- and The Miracles… among others.

Alternatively, this week’s second song, by John Lee Hooker, was officially released in 1960 – one year later – and it never (as far as I know) topped charts or got recognition from Rolling Stone.

However, the lyrics to both these songs are very, very similar… so much so that it seems impossible that it would have happened by coincidence. But interestingly enough the issue of which song came first has yet to be settled.

Nevertheless, in no more than 3 minutes, I think they sum up the current state of the U.S. Economy a lot better than George Bush did on Thursday.

Enjoy:

http://www.youtube.com/watch?v=swG5kTpTwVE

RWM and the Upcoming Presidential Election, Part I

noreply@blogger.com (Greg Runco) — Sun, 14 Sep 2008 18:18:00 +0000

I don't know about you but I've been following this presidential race rather closely… and I thought it would be fun to write a couple things between now and November 4th that somehow relate to both music and the upcoming election/politics… assuming I'm able to think of some topics. : )

This week I stumbled upon a column from Paste Magazine that took a quick look at, 'the 5 democrat and republican musicians who've done all they can in recent years to support their various parties.'

The artists on the lists were fairly obvious actually, but the column did make me think, 'why the heck is it that so many musicians are democrats?' It seems to me that one would actually be hard-pressed to find a handful of legit republican musicians… just look at the GOP national convention lineup for proof… it included:

- Gretchen Wilson // Cowboy Troy // and John Rich … pop country musicians – goodness… nothing could be worse. While the DNC included (among others), Stevie Wonder, Michael McDonald, Kanye West, Willie Nelson and Jennifer Lopez.

- Given how many great bands and artists there are out there, who have varied backgrounds and come from ALL over the country, and world… and keeping in mind that the rest of the country is basically split… it's pretty absurd to think that this occupation is so one-sided in their political views. In 2004, 82% of contributions from the music industry went to the Democratic party.

Nevertheless, the question that often arises next is – should musicians voice their political views to their fans?

An article titled, The Pop of King, mentions that Bruce Springsteen spearheaded a 'Vote for Change' concert tour last election… that visited 12 swing states. Springsteen appeared on ABC's Nightline, and Ted Koppel asked him bluntly: ''Who the hell is Bruce Springsteen to tell anybody how to vote?''

Springsteen's response: ''It's an interesting question that seems to only be asked of musicians and artists, for some reason. Big corporations...influence the government [their] way.... Labor unions influence the government their way. Artists write, and sing, and think, and this is how we get to put our two cents in.''

I'd say that's quite a reasonable response.

How about when the Dixie Chicks were like, "we're ashamed that President Bush is from Texas."

It's kind of absurd to think that they said it to a concert audience : ) They had to have known people were going to get pissed… and they did; some fans ended up encouraging radio stations to boycott their music; they burnt their albums publicly, and they wore t-shirts that said, 'Send the Dixie Chicks to Iraq'
-- If I were their manager I think I would have discouraged them against making a statement like this… while at the same time, they're just people; if they want to voice their opinion that's their prerogative. It doesn't really make any difference – to me at least – whether or not they are musicians.

But, I believe that as a musician your best bet at stimulating change is through…. hmmm, could it be, good music, perhaps?

On that note, this week's song is Mahalia Jackson's version of 'We Shall Overcome' – a protest song with a history dating back as far as the 1800's. It became a key anthem of the US civil rights movement… and in 1963 folksinger Joan Baez, 'memorably lead a crowd of 300,000 in singing [it] at the Lincoln Memorial during Martin Luther King's March on Washington.' But, Mahalia Jackson's version is significantly better in my opinion. So, enjoy: http://www.youtube.com/watch?v=a8i2z_BnbrY

BTW here is a list of some major musicians/bands and the party they have openly supported

- Democrats
Bruce Springsteen
Black-Eyed Peas
Dave Matthews Band
Dixie Chicks
Death Cab For Cutie
R.E.M.
Jack Johnson
Crosby Stills Nash and Young
Stevie Wonder
Michael McDonald
Kanye West
Willie Nelson
Jennifer Lopez
E Street Band
John Fogerty
Jurassic 5
Ben Harper
Melissa Etheridge
Red Hot Chili Peppers 
Sheryl Crow 
Paul Simon
James Taylor 
John Mellencamp
My Morning Jacket
Carole King
Pearl Jam
Peter Frampton
Neil Young – apparently a libertarian but people assume he votes democrat
Tony Bennett 

- Republicans
Gretchen Wilson
Kid Rock
Cowboy Troy
The Beach Boys – a surprise, I know.
John Rich
Ted Nugent
Johnny Ramone
Ricky Skaggs
The Charlie Daniels Band
And Brittany Spears expressed her views on Bush once when she told Carson Daly… "Honestly, I think we should just trust our president in every decision that he makes, and we should just support that, you know, and be faithful in what happens."

Good column for you. won the Pulitzer Prize for Feature Writing

noreply@blogger.com (Greg Runco) — Sun, 07 Sep 2008 14:31:00 +0000

This week I thought I'd recommend this column for you... If you haven't already read it it's pretty interesting. It's called 'Pearls Before Breakfast,' and it

'created an international firestorm of discussion about how we appreciate art, and specifically, music.'

I didn't realize until today actually that this piece by Gene Weingarten, which appeared in the Washington Post, was awarded the Pulitzer Prize for Feature Writing on April 7, 2008.

I'm not gonna talk much about it I'll just let you read it for yourself… it's kind of long but if you have some free time this morning I'd say it's certainly worth checking out: http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html

(if this first link doesn't work for you try this one http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721_pf.html )

And then when you're done reading you can check out this week's song if you're interested:

http://www.youtube.com/watch?v=ns58rC_194I

Enjoy!

A tribute to LeRoi Moore, September 7, 1961 – August 19, 2008

noreply@blogger.com (Greg Runco) — Tue, 26 Aug 2008 02:25:00 +0000

As many of you I'm sure already know, LeRoi Moore – the saxophone player for the Dave Matthews Band – died on August 19th from complications from his injuries in an ATV accident.

Leroi had been hospitalized several months ago and Jeff Coffin, the saxophonist for Bela Fleck, had been standing in for him. I personally was unaware of this and LeRoi's sudden death really came as a shock to me as I believe it did to many.

I wasn't quite sure how to react quite honestly. It's not like I cried or anything… after all, I've never personally met him. But I of course felt bad for the band – as it's probably like losing a brother to those guys – and naturally his family and friends… with him being so young and dying at probably the peak of his career.

Given I have literally grown up with the Dave Matthews Band I was also personally saddened by his death. LeRoi's music has filled my ears for about a decade now; myself - and I know many others - can put in any Dave Matthews cd and hum along to every note of his intriguing music.

So although I never knew him personally I think many of us knew what he was about just from listening… and from observing.

If you've ever watched LeRoi on stage it's pretty awesome. He is really all about the music and nothing more.

As people have said, 'he hides in the shadows' when he isn't playing – always in a dark pair of sunglasses to help him with his stage fright… and he casually reveals himself when it's his turn to shine. Judging by his demeanor alone you'd think he was in a small dingy bar and not in front of thousands of people that are attentively listening to every note he plays. His music however – as we know – is every bit worthy of being played in front of some the largest concert audiences America has ever seen. I've just always respected the fact that when you look at him on stage you see a musician, keeping it real, playing his instrument to the best of his ability - and not some rock star figure.

So this week I think I did what a lot of Dave Matthews Band fans did… listened to a good bit of their music, and LeRoi in particular. It wasn't an 'out of respect' type of thing… it was more just, 'damn, I seriously cannot believe they don't have him anymore...' And what I've done for this weeks video is include his work from a couple different songs. Whether you like dave matthews band or not I believe you'll enjoy this.

There's that common phrase, you don't know what you have till it's gone. With LeRoi Moore I think it's just the opposite. As fans, we all knew what he was – and we all knew what to expect from him... amazing music. And he will truly be missed by many.

Enjoy

http://www.youtube.com/watch?v=bDdP5tQVVbQ