Song of the Week – Killing Me Softly; Roberta Flack, Lori Lieberman, The Fugees

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On February 18, 2024, I posted about Roberta Flack’s rendition of “Compared to What” in celebration of Black History Month.  Tragically, almost one year to the day, we learned of her passing at the age of 88 on February 21, 2025.

In light of this, I want to pay tribute to her once again with the next installment of my “Evolution Series.”

Flack first gained widespread attention with “The First Time Ever I Saw Your Face,” which became a hit after being featured in Clint Eastwood’s directorial debut Play Misty for Me in 1973.  The song earned her a Grammy for Record of the Year.  She followed that success in 1974 with another Grammy, this time for “Killing Me Softly.”

Flack first heard the song “Killing Me Softly” in a version by Lori Lieberman, which she discovered on an in-flight airline playlist.  She later recalled being so captivated by the song that she played it repeatedly until she could transcribe the melody.

The lyrics were written by Lieberman in collaboration with Norman Gimbel, inspired by a performance she witnessed by Don McLean — famous for “American Pie” — at The Troubadour nightclub in LA.  Despite her role in writing the song, Lieberman was not credited as one of the songwriters.  Undeterred, she recorded and released her own version, though it did not chart.

It’s easy to understand why Flack was so drawn to the song’s simple yet haunting melody, which left a lasting impression on her.

Over two decades later, in 1996, The Fugees released a hip-hop version of the song on their album The Score.  With Lauryn Hill providing the lead vocals, the song soared to the top of the charts, reaching #1 in twenty countries and winning several Grammy Awards, including a second Record of the Year.

The Fugees performed the song during their recent appearance at the excellent SNL50: The Homecoming Concert held at Radio City Music Hall in New York on February 14th.  It can be streamed on Peacock.

Roberta Flack was not only a pioneering artist in pop and soul music, but she was also a philanthropist and an influential civil rights activist.  She will be greatly missed by her many devoted fans.

Enjoy… until next week.

Song of the Week – Voice Your Choice, the Radiants

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The Radiants were a R&B/soul group in the ‘60s.  As was typical of the day, the group underwent several personnel changes.  They hit their stride as a trio led by Maurice McAlister, who was also half of the duo Maurice and Mac (McLarin Green) who recorded the timeless “You Left the Water Running” (1968).

In 1964, the Radiants scored a #51 hit on the Billboard charts with “Voice Your Choice,” a Curtis Mayfield-inspired track.

This song is masterfully played (dig the horns) and beautifully sung.  Dave Marsh, in his book The Heart of Rock & Soul – The 1001 Greatest Singles Ever Made, notes, “The singers switch the lead from line to line, their pleas rising and falling with varying amounts of tension and raunch.”  Marsh positioned the track at #348.

Though its lyrics aren’t political, this track is a staple every election day. It tells the story of choosing one love over another — a terrific example of Chicago-style soul.

Enjoy… until next week.

Song of the Week – God Gave Me Feet for Dancing – Ezra Collective (ft. Yazmin Lacey)

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The British jazz band known as the Ezra Collective has been active since 2016, but I only learned about them recently, after they released their critically acclaimed third album – Dance, No One’s Watching – in September 2024.

Actually, I find categorizing them as a jazz band doesn’t describe them very well because I hear such a prominent Afrobeat flavor in their music.  They fuse elements of many genres into their musical stew, citing Kendrick Lamar and Robert Glasper as influences.

Take, for instance, “God Gave Me Feet for Dancing” which Barack Obama listed as one of his 25 favorite songs of 2024.

“God Gave Me Feet…” has a vocal assist from London-born singer-songwriter Yazmin Lacey.  Ezra Collective drummer and bandleader Femi Koleoso has described his inspiration for the song:

“Myself, (bandmates) Ife, and TJ all grew up in church, and it played a massive role in how we view the purpose of dancing.  Dancing is bigger than just the club space.  Dancing is a community thing, dancing is a spiritual thing, and ‘God Gave Me Feet for Dancing’ is like a window into that element of Ezra Collective for the five of us.  There’s a story in the bible that talks about ‘David dancing before the lord’, and that’s always been something that has inspired me.  So, ‘God Gave Me Feet for Dancing’ is meant to look at dancing in a more spiritual capacity, like it’s our God-given ability to shake away the badness of life and dance instead.”

The band won the Mercury Prize in 2023 for their previous album, Where I’m Meant to Be.  They were the first jazz band to win that prestigious award.

Enjoy… until next week.

Song of the Week – Sail Away, Rednecks, Christmas in Cape Town; Randy Newman

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This weekend marks the 17th anniversary of SotW. When I sent my first post, I never dreamed I would still be doing it all these years later. Thank you for your support.

Randy Newman has grappled with the concept of racism throughout his career, using his signature satirical style to expose its cruelty and hypocrisy.

One of his earliest songs to address the issue was “Sail Away” (1972), written from the perspective of a slave trader enticing Africans with false promises.

Typical of Newman, the song’s irony was lost on some listeners, who mistakenly thought he was mocking the enslaved rather than condemning the practice.  The lyrics lay bare the deception used to lure captives:

In America you get food to eat
Won’t have to run through the jungle
And scuff up your feet
You just sing about Jesus and drink wine all day
It’s great to be an American

Ain’t no lion or tiger, ain’t no mamba snake
Just the sweet watermelon and the buckwheat cake
Ev’rybody is as happy as a man can be
Climb aboard, little wog, sail away with me

Newman expanded on the theme of racism with Good Old Boys (1974), a concept album that opens with “Rednecks.”

The song was inspired by Newman’s reaction to a Dick Cavett Show interview featuring Georgia’s segregationist governor, Lester Maddox. Maddox, ridiculed by Cavett and the audience, eventually walked off the show.  You can watch it here:

While Newman was no fan of Maddox, he saw the hypocrisy in Northern attitudes toward racism.  The song begins with a sharp critique of both Maddox and his detractors:

Last night, I saw Lester Maddox on a TV show
With some smart-ass New York Jew
And the Jew laughed at Lester Maddox
And the audience laughed at Lester Maddox too
Well, he may be a fool, but he’s our fool
If they think they’re better than him, they’re wrong

Newman then sketches a stereotypical Southern racist.

We talk real funny down here
We drink too much and we laugh too loud
We’re too dumb to make it in no Northern town
And we’re keepin’ the niggers down

Finally, he exposes Northerners’ hypocrisy.

Now your northern nigger’s a Negro
You see he’s got his dignity
Down here we’re too ignorant to realize
That the North has set the nigger free

Yes he’s free to be put in a cage
In Harlem in New York City
And he’s free to be put in a cage in the South-Side of Chicago
And the West-Side
And he’s free to be put in a cage in Hough in Cleveland
And he’s free to be put in a cage in East St. Louis
And he’s free to be put in a cage in Fillmore in San Francisco
And he’s free to be put in a cage in Roxbury in Boston
They’re gatherin’ ’em up from miles around
Keepin’ the niggers down

The song’s use of the N-word sparked controversy.  Today, it is widely accepted that the word should NEVER be used, especially by a white person.  However, Harvard Law School professor Randall Kennedy has defended writers who employ the term “to dramatize and condemn racism’s baleful presence.”  Newman’s intent aligns with this perspective — his lyrics serve as an indictment, not an endorsement.

Newman continued exploring racism in later works, including Trouble in Paradise (1983).

“Christmas in Cape Town” presents a white South African bigot trying to justify apartheid to an Englishwoman:

This English girl from the North somewhere
Is stayin’ with me at my place
Drinkin’ up all my beer
Talkin’ about the poor niggers all the time
It’s a real disgrace, she says
I tell her, Darling, don’t talk about things
You don’t understand
I tell her, Darling, don’t talk about something
You don’t know anything about
I tell her, Darling, if you don’t like it here
Go back to your own miserable country

We’ve come a long way in confronting racism, but there is still plenty of work to be done.  Unfortunately, recent attacks on Diversity, Equity, and Inclusion (DEI) initiatives threaten to stall progress rather than advance it.

Enjoy… until next week.

Song of the Week – Say Yes, Elliott Smith

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Elliott Smith was one of the most brilliant songwriters of the 1990s, yet his legacy is too often reduced to just two moments: his 1998 Oscar nomination for Best Original Song for “Miss Misery” from Good Will Hunting, and his tragic death in 2003 at the age of 34 from two stab wounds to the chest.

But Smith’s artistry deserves so much more.

His 1997 album Either/Or is a genuine classic — an album that has only grown in stature over the years. Three of its songs were featured in Good Will Hunting, and it has consistently appeared on “best of” lists, cementing its place in indie rock history. Its accolades speak for themselves:

  • Pitchfork ranked Either/Or 59th in its list of the 100 Greatest Albums of the 1990s and later placed it at #23 in its Best Albums of the Decade list (2022).
  • Spin ranked it #48 on its list of the best albums from 1987 to 2012.
  • Blender named it the 36th greatest indie rock album ever.
  • NME included it at #149 on their 500 Greatest Albums of All Time list.
  • Consequence of Sound ranked it #97 among the greatest albums ever made.
  • Rolling Stone placed it at #216 in the 2020 edition of their 500 Greatest Albums of All Time.

Among its many gems, the album’s closing track, “Say Yes,” stands out as one of Smith’s most optimistic songs.

It was written for his then-girlfriend, Joanna Bolme, but Smith was vague about its origins. “It’s about someone particular, and I almost never do that.  I was really in love with someone,” he admitted without identifying the person.

“Say Yes” captures the essence of Smith’s songwriting — short and sweet, honest yet deceptively simple.  He even leaves in the sound of himself clearing his throat at the start of the recording, an unfiltered moment that adds to its raw intimacy.

I’m in love with the world
Through the eyes of a girl
Who’s still around the morning after

This is Elliott Smith at his finest — delicate, deeply personal, and achingly sincere. “Say Yes” is not just a song; it’s a glimpse into the quiet beauty of his genius.

Enjoy… until next week.

Song of the Week – The Koln Concert Part IIc, Keith Jarrett

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Yesterday marked the 50th anniversary of the performance Keith Jarrett recorded The Köln Concert.  Long considered one of the most famous and influential solo jazz records, it almost wasn’t to be.

A concert was booked at Köln Opera House in Cologne, West Germany, by a very young promoter named Vera Brandes, and quickly sold out.  Jarrett traveled to the city from Zurich, Switzerland, where he had performed a few days earlier.  The trip, by car, was exhausting and Jarrett was fatigued and hungry by the time he reached Germany.

When he arrived at the Opera House he discovered there was a terrible mix up.  He had specified that the instrument he would play must be an Imperial Bösendorfer.  The venue confirmed that they had one.  Instead, he found Bösendorfer baby grand.  It was an instrument on hand for rehearsals, was out of tune, and had keys and pedals that stuck or didn’t work at all.

A piano tuner came to the rescue and set to work making the baby grand playable.  Jarrett was not initially satisfied and threatened to cancel the gig.  But ultimately, he agreed to perform, partly because the concert was scheduled to be recorded and the equipment was already set up and ready to go.

Wikipedia reports that Jarrett “used ostinatos and rolling left-hand rhythmic figures during his performance to give the effect of stronger bass notes, and concentrated his playing in the middle portion of the keyboard.”  In 2011, Jarrett told the jazz critic Don Heckman “I was forced to play in what was — at the time — a new way.  Somehow I felt I had to bring out whatever qualities this instrument had… my sense was, ‘I have to do this. I’m doing it. I don’t care what the fuck the piano sounds like.’”

Who could have guessed that those horrible circumstances would result in one of the most beloved jazz albums ever, ultimately tallying sales of about 4 million copies, and earning a spot in Robert Dimery’s list of 1001 Albums You Must Hear before You Die.

Enjoy… until next week.

Song of the Week – Big Log, Robert Plant

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Today’s SotW post was written by frequent guest contributor and long-time friend, Michael Paquette.

Robert Plant’s solo career has been a bit uneven, but he has always sought fulfillment with his musical efforts and has produced a wide range of material in following that path.  His most highly acclaimed work outside of Led Zeppelin is his collaboration with Allison Krauss which resulted in the landmark Americana album Raising Sand (2007).  Led Zeppelin was not much of a singles band. Plant’s solo works have not climbed the charts but consistently produced compelling music.   Led Zeppelin called it a day after the death of John Bonham in 1980.  Many fans felt that the band would reunite with a different drummer.  However, that never happened partly because Robert Plant was so engaged in his solo career.

Plant’s second solo release was called The Principle of Moments.  Released in 1983, it fits in with the works of many bands that used synths for bold and splashy sounds at that time.  But Plant and his bandmates used synths to construct an evocative and more subtle mood.  The guitar work on this album by Robbie Blunt conjures up a similar sound to what Mark Knopfler was playing with Dire Straits.

When “Big Log” was released, it snuck into the top 20 in 1983 on the Billboard Hot 100 singles chart, and #6 on Billboard’s Top Tracks.  It was Plant’s first solo release to chart.  The album would continue to gain recognition and was ultimately certified gold with two other songs that also made the charts.

Plant uses a more restrained vocal on this song cutting loose with some wails as the song progresses.  Phil Collins is on the drums.  The title appears to be a little suggestive but is just a reference to a log blazing in a fireplace while Plant and Blunt were laying down the track.  This song still burns bright when revisited over 40 years later.  It is a fine solo work constructed by a leader of one of the all-time greatest bands.

A remastered edition of the album was released in 2007.  It included live renditions of two songs from the original release, and an unreleased live version of Plant and Bob Marley performing “Lively Up Yourself” recorded in September 1983. 

The Principle of Moments is a fine addition to any record collection that also includes Led Zeppelin material.

Enjoy… until next week.

Song of the Week – Hand of Fate, Rolling Stones; Concrete Jungle, Bob Marley; Car on a Hill, Joni Mitchell

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In rock and roll history, the name Wayne Perkins isn’t instantly recognizable.  Unless, that is, you carefully read the credits in the liner notes of your albums.

Perkins recorded with high-profile artists, including the Rolling Stones, Bob Marley, and Joni Mitchell.  He was almost invited to replace Mick Taylor when Taylor left the Stones but was ultimately passed over for their old friend Ron Wood.  Yet, before that decision, he laid down remarkable tracks on the Stones’ Black and Blue (1976) album.  His playing on “Hand of Fate” is epic!

For Marley, he overdubbed guitar on three tracks on the Catch a Fire (1973) album.  (For those who collect vinyl, you may remember this album with the cover that depicted a Zippo lighter that opened at the top!) Perkins’ best contribution is the solo on “Concrete Jungle.”

Joni Mitchell’s breakthrough commercial success Court and Spark (1974) includes some fine guitar playing by Perkins on “Car on a Hill.”  It has been said that the song is about an incident where Joni was waiting in vain for her then-boyfriend Jackson Browne to show up because he was out with his new partner Phyllis Majors – who he eventually married.  Perkins’ crying guitar adds to the feeling of anxiety that Mitchell’s song conveys.

After discovering Perkins’ role in this set of songs, I’m confident you will agree he deserves recognition not just as a footnote in rock history, but as a pivotal figure in its development.

Enjoy… until next week.

Song of the Week – Right Back to It, Waxahatchee ft. MJ Lenderman

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Looking back on the musical offerings of 2024, one track that stood far above the rest was “Right Back to It” by Waxahatchee featuring MJ Lenderman.  Released as an early teaser in January, the song found its permanent home on Tigers Milk, Waxahatchee’s stunning March release that cemented Katie Crutchfield’s place as a songwriter of rare emotional insight.

For the uninitiated, Waxahatchee is both a moniker and a flexible musical identity — a vessel for Crutchfield’s poetic musings, sometimes as a solo troubadour and other times flanked by a full-band ensemble.  This fluidity of form mirrors the emotional depth of her music, where vulnerability is as much an instrument as her guitar.

On “Right Back to It,” Crutchfield collaborates with alt-country luminary MJ Lenderman, whose vocal harmony provides a wistful counterpoint to her introspective lyrics. The result is a love song unlike any other — a portrait of enduring affection painted in shades of insecurity and redemption.  Crutchfield, in her own words, described the song as an exploration of “the ebb and flow of a longtime love story,” eschewing the saccharine for something more visceral and, ultimately, more relatable.

Musically, “Right Back to It” strikes a rare balance between simplicity and sophistication.  Its timeless melody feels as though it has always existed, as if plucked from the ether and given new life in Crutchfield’s hands.  The interplay of Crutchfield’s yearning vocals and Lenderman’s understated electric guitar fills ensure the song resonates long after its final notes fade.

In an era where fleeting trends dominate, Waxahatchee offers a welcome reminder that the best music isn’t just heard — it’s felt.  And with “Right Back to It,” Katie Crutchfield proves, once again, that she’s a master of making us feel.

Enjoy… until next week.

Song of the Week – Just Because, Elvis Presley

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“Just Because” is a song first recorded by Nelstone’s Hawaiians in 1929.  A few years later, in 1933, it was recorded by The Shelton Brothers.  While the songwriting credit is officially attributed to Sydney Robin and Joe and Bob Shelton, some believe Robin wrote the song alone, with the Sheltons later claiming credit after their recording gained attention.

Regardless of its authorship, the song holds a seminal place in rock and roll history.  It was recorded at Sun Studios in 1954 but remained unreleased until Elvis Presley included it on his debut RCA album in 1956.

Further cementing its legacy, “Just Because” has been covered by an eclectic mix of artists: twangy guitar maestro Duane Eddy (who passed away in 2024), skiffle enthusiast Paul McCartney, blues devotee Jorma Kaukonen, and rockabilly preservationist Brian Setzer.  An especially unique rendition appears on the album Beauty and the Beard (1964), a collaboration between the unlikely duo of the sexy Ann-Margret and New Orleans clarinetist Al Hirt.

Though not a holiday song, the lyrics contain a whimsical twist: the woman being sung to refers to the singer as “Santa Claus.” It’s a humorous and fitting way to close out the year.

Enjoy… until next week.