Author Archives: Tom Muscarella

Song of the Week – Am I Wrong, Mikal Cronin

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Occasionally we’re pleasantly surprised when an artist steps out of their more recognized bandmate’s shadow to offer us a gem of an effort that exceeds expectations.

Based on George Harrison’s earlier Beatles contributions (excepting, of course, his two awesome contributions to Abbey Road), who would have thought he could deliver the triple album of influential, majestic songs that was All Things Must Pass. Mick Jones amazed many when his Big Audio Dynamite albums were more contemporary sounding than much of Joe Strummer’s work after The Clash. And although no one would dispute Paul Westerberg was the leading creative force behind The Replacements, you have to give credit to bandmate Chris Mars for his solo work on Horseshoes and Hand Grenades.

Sticking with this theme, today’s SotW is by Mikal Cronin, best known for his work as the bass player for the prolific Bay area garage rocker Ty Segall. But Cronin released his second solo album this year, MCII, and it is a jewel. The album is chock full of power pop songs, with strong, memorable melodies and nice harmonies.

The song most recognized (and with the most plays on Spotify) is “Weight.” But I like “Am I Wrong” a little better, so that’s today’s SotW.

The song follows the template for muscular pop records used by Big Star, Cheap Trick and Matthew Sweet. It has a driving beat, a tough, distorted guitar sound and a slightly out of tune piano solo. Cronin played all of the instruments himself.

The lyric is simple – just a guy wondering if he’s reading the signs correctly. “Am I wrong? I don’t think so.”

As we approach year end, I’m starting to make a mental list of some of my favorite albums for 2013. MKII is on it.

Enjoy… until next week.

Songs of the Week – Negro y Azul: The Ballad of Heisenberg, Los Cuates de Sinaloa & Crapa Pelada, Quartetto Cetro

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OK, I have to start this post by admitting that I was a latecomer to the hit television show Breaking Bad. I didn’t watch a single episode until this October; right after the series finale was aired.

But I started to binge on it and I’m now in the middle of the fifth and final season. (I probably would have finished it by now, but the Red Sox kept winning all the way through the World Series and sucked up a lot of my screen time.)

The series is outstanding; a compelling premise with great story line development and terrific characters. But one of the pleasant surprises to me was the ingenious use of music in the soundtrack. Most of the music is obscure, but when the producers chose popular songs they used them to great effect (“A Horse with No Name” “Tush”).

This week let’s listen to a couple of my favorite songs from the series. First up is “Negro y Azul: The Ballad of Heisenberg” by Los Cuates de Sinaloa.

The song is in the Mexican style called Narcocorrido. A corridor is a traditional Mexican story song. A narco-corridor is… well you get it. “Negro y Azul” translates to “Black and Blue,” a clear reference to Walter White’s (Heisenberg) hat and product.

My next choice is “Crapa Pelada” (1945) by the Italian vocal quartet, Quartetto Cetro.

This is such a quirky song that it is irresistible — kind of jazzy with a machine gun rat-a-tat-tat of words flowing in tight harmony. I’m pretty sure I’d like this song anyway, but the associated image of Gale (Walt’s lab assistant) singing it as he watered his plants while cooking his dinner is indelible. The song perfectly captured Gale’s idiosyncratic personality of which to that point, we knew little about outside of the lab.

There are dozens of other great songs featured in the series. I like most of them other than the rap/hip hop. (I know I’m proving that I’m an old man.) Some people have compiled Breaking Bad playlists on YouTube that are worth checking out.

Enjoy… until next week.

Song of the Week – Love Me Hard, Dust

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Back in the early 70s a pioneering heavy metal rock band called Dust put out a couple of albums that were largely ignored. The Brooklyn based band soon faded into the dustbin of rock history – nearly, but not totally forgotten. But not the individual band members – Richie Wise, Marc Bell and Kenny Aaronson.

Wise was the band’s leader; lead singer, lead guitarist and main songwriter. He went on to co-produce the first two Kiss albums.

Marc Bell was the groups over the top drummer. This dude really pounds the skins. After Dust, he made his way through a few of the New York City based punk bands, including Wayne County and Richard Hell & the Voidoids. In 1978 he settled in for a 15 year stint as the Ramones drummer using the moniker Marky Ramone.

Bass player Kenny Aaronson scored a big hit with the song “Brother Louie” when he played with The Stories. Then he became an “in demand” road/studio musician working with the likes of Bob Dylan, Hall & Oates, Mick Taylor, Graham Parker, Billy Idol, and Billy Squier and serving as a full time member of Joan Jett’s Blackhearts in the first half of the 90s.

Today’s SotW is from their self-titled, 1971 debut, “Love Me Hard.”

The song rocks with the best of other early 70s hard rock bands like Led Zeppelin, Black Sabbath and the James Gang.

It opens with a heavy guitar riff, then in comes the pounding rhythm section and vocals. Midway through is an interlude that starts with acoustic guitar and then turns really heavy before returning to the main riff for some guitar soloing and the big rock ending.

Their two albums are available to stream on Spotify. Search for them under the album name Hard Attack.) This music is really deserving of a listen, even if you’re not a big hard rock fan. The songs are inventive and each has its own interesting details and flourishes.

Enjoy… until next week.

Song of the Week – The Wolf, Darondo

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Back in the early 70s there was this cat from Berkeley/Oakland whose music sounded like a psychedelic Al Green. He went by the name of Darondo. He was a colorful character that drove a white Rolls Royce and wore lots of custom jewelry. His music has been mostly forgotten except by soul music connoisseurs.

But in recent years he has undergone a mini revival. A 2011 release called Listen To My Song – The Music City Sessions (and available on Spotify) compiled 16 songs so a new audience could discover his talent. His best known song, “Didn’t I”, has been used on several soundtracks including a season 1 episode of Breaking Bad.

But I really like another one of his songs better, so today’s SotW is “The Wolf.”

“The Wolf” is slow burner that has this irresistibly funky groove. It could go on for hours and I would never tire of it. It’s a very simple arrangement with a funk guitar riff, a spooky bass line and a solid beat.

Unfortunately, just as he was finding a new, younger audience, Darondo died earlier this year. At least he lived long enough to see that the music he made was still valued over 40 years later.

Enjoy… until next week.

Song of the Week – When You Find Out, Hangin’ on the Telephone, The Nerves

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In the mid 70s (’74-’78) there was a short lived power pop band founded in San Francisco but relocated to LA called The Nerves. They never reached their full potential, but a couple of the group members went on to greater fame – Peter Case with The Plimsouls (“A Million Miles Away”) and Paul Collins with The Beat. Both had decent success as solo acts too.

But The Nerves put out some pretty good tunes that still deserve to be heard. The first is the British Invasion inspired “When You Find Out” written by Case.

It opens with a simple drum beat, jangly guitars and a catchy melody. The lyrics are simple and earnestly sung with a nice harmony in the chorus.

The other song is “Hangin’ on the Telephone” – yes, the same song made famous by Blondie through its inclusion on their blockbuster album Parallel Lines.

The Nerves version is a bit slower, rawer and less dense. Although I love Blondie’s recording, I think I like this one better.

Long live power pop!

Enjoy… until next week.

Song of the Week – Blackbird, Crosby, Stills & Nash

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Graham Nash has recently released his autobiography titled Wild Tales: A Rock & Roll Life. This has caused him to go on an extensive promotional tour, conducting numerous, in-depth interviews. I’ve heard two of them – one with Howard Stern and the other with Terry Gross. Here is the Stern interview if you’re interested in listening to it:

Nash reveals some very interesting and insightful stories in these interviews (and probably even more in the book). Like how Crosby, Stills & Nash tired to get a record deal by demoing the whole first album live, to many label chiefs and recording stars that were unimpressed and turned them down. Like the cool, dreary morning in LA when he was inspired to write “Our House” after having breakfast with Joni Mitchell. And the unique way Neil Young previewed his then unreleased album Harvest to Nash.

He also tells an interesting story of how C,S & N came to record Paul McCartney’s civil rights inspired “Blackbird.” There is a bootleg recording of them working out the harmony parts and that is today’s SotW.

If you listen closely, you can hear the improvement with each take. It is quite fascinating. I also find it interesting that the Beatles’ “Blackbird” was released in November 1968 and only 3 months later C, S & N were already working on their version. Only the Beatles could generate that level of respect and inspiration.

Enjoy… until next week.

Songs of the Week – This Man He Weeps Tonight – The Kinks, A House is Not a Motel – Love, The Door Into Summer – The Monkees

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One of the books I read on my summer vacation was Big Day Coming, a biography of the Hoboken, NJ based band Yo La Tengo. But the book is much more than the band’s bio – in fact it is subtitled Yo La Tengo and the Rise of Indie Rock. If you’re interested in the subject the book is a very good read, chock full of interesting facts and colorful stories.

What interested me from the standpoint of the SotW was all of the cool songs the band curated into their repertoire – not only when they were beginning as a cover band playing at parties for friends, but sprinkled into their live performances throughout their career. They even released the obligatory (mostly) covers album in 1990 called Fakebook.

Here’s an excerpt from the book describing some of the hip, deep cuts they included in one of their early sets.

In addition to the hundred plus songs rolling through their recent memories, A Worrying Thing (a pre Yo La Tengo band name) continued to practice covers. Ira (Kaplan) and Tony (Blow, an early band member) attempted harmonies on the Kinks’ “This Man He Weeps Tonight.” Tony did the Dils’ “Sound of the Rain,” and they took on a batch of ‘60s pop obscurities, including Love’s “A House Is Not a Motel,” the Monkees’ “The Door into Summer,” the Rascals’ “Find Somebody,” (an early SotW) Syd Barrett’s “No Man’s Land,” and Everything Is Everything’s “Witchi Tai To.” There was also Parliament’s “One Nation Under a Groove,” soul songwriters Gamble and Huff’s “Drowning in the Sea of Love,” and a recent Waves B-side, “Hey, War Pig!” There was likewise a pair of songs popularized by the Weavers, Ira’s Hudson Valley neighbors: a funkified run at “Darling Corey,” and a similarly tarted up version of the left-wing anthem “If I Had a Hammer,” written by Pete Seeger and Lee Hays.

Now that’s a pretty cool list of songs! So let’s listen to a few.

“This Man He Weeps Tonight” is one of a relatively few Kinks’ songs penned and sung by Dave Davies. As such, it isn’t very well known to most people, even those that consider themselves Kinks fans. It was originally included on the band’s album of rarities called The Great Lost Kinks Album (itself the subject of another early SotW).

Next is Love’s “A House is Not a Motel” from the band’s important album Forever Changes and was the b-side to the album’s first single release “Alone Again Or.” This psych classic presages the Viet Nam era alienation some would feel in cities like L.A. after the Summer of Love. The guitar duets set the mood perfectly.

Lastly is “The Door Into Summer” from Pisces, Aquarius, Capricorn & Jones Ltd. Michael Nesmith takes the lead on the type of protest song the band fought for the right to record. It showcases Peter Tork’s underrated keyboard prowess.

These are all terrific recordings. Thanks, Yo La Tengo, for inspiring me to check them out again.

Enjoy… until next week.

Song of the Week – Be My Baby, Tiny Tim w/ The Band

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Over the years, rock music has made for some strange bedfellows. One of the most famous examples I can think of was when David Bowie sang with Bing Crosby on their version of the now classic “Peace On Earth/Little Drummer Boy.” But there have been others.

How about when James Brown hooked up with Luciano Pavarotti in 2002 to knock out a version of “It’s A Man’s World?”

Then there’s Tom Jones with Crosby, Stills, Nash & Young doing “Long Time Gone” on his variety show in 1969.

Now before you think I’m smugly mocking these collaborations let me make clear that I think they’re all pretty cool. Yes, really, all of them… that’s why I’ve posted them here.

But the award for the weirdest rock collaboration that I’m aware of has to go to ukulele playing, falsetto singing, Tiny Tim accompanied by The Band. Yes, THE Band.

That’s right. Back in 1967 when Bob Dylan and The Band were recording the Basement Tapes at Big Pink in Woodstock, NY, Tiny Tim paid a visit to lay down a few tracks to be included for the soundtrack to Peter (of Peter, Paul & Mary) Yarrow’s movie You Are What You Eat.

My favorite of the 4 songs they recorded together and today’s SotW is the Phil Spector classic “Be My Baby.”

Be My Baby – Tiny Tim w/ The Band

The Band is really hot, just like when they paid tribute to their Rock ‘n Roll roots on Moondog Matinee. I only wish I could say the same for Tim.

I understand that many of you have no idea who Tiny Tim was. If you’re old enough to remember Rowan & Martin’s Laugh-In, you know. Or, if you listened to Howard Stern in the mid 90’s, you know. Otherwise, look him up in Wikipedia.

Enjoy… until next week.

Song of the Week – She’s So Fine, The Strypes

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I’m more conflicted about today’s SotW than just about any I’ve ever posted. But I’m going ahead with it anyway and I’ll let you be the judge.

The song is by The Strypes, a group of 16-18 year old Irish lads. They make no secret of their fondness for the 60s era R&B and blues rock first popularized by The Rolling Stones, The Yardbirds and the 70s group Dr Feelgood. Like those bands, The Strypes count Jimmy Reed, Bo Diddley, Muddy Waters and Howlin’ Wolf among their influences.

So here’s the rub – is this band the “real deal” or a rock ‘n roll version of One Direction? Some musical giants with a little about 60s R&B/mod rock cred like Elton John, Paul Weller, Roger Daltrey, Dave Grohl, Jeff Beck and Noel Gallagher have sung their praises.

The band put out a four song EP in 2012 and just released their first full length album, Snapshot. Snapshot has a mix of originals and covers. Nothing wrong with that – just think about the early Beatles and Stones albums.

“She’s So Fine” is an original rave up complete with bluesy harp.

The lyric is pure teenage R ‘n R; all about girls:

She doesn’t like to talk but she likes to dance all night
She doesn’t like the dark but she likes it when I turn out the light

Bottom line – I like it, but it still feels a little cloying.

So I keep asking myself a couple of questions. Will these very young guys continue to develop their craft and still be around when they’re, say, 30? A few years from now will I be embarrassed that I considered them worthy of the SotW? I just don’t know.

Enjoy… until next week.

Song of the Week – She’s a Dancer, Crack the Sky

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My mind’s eye is always on the lookout for a SotW idea. I might hear something new on a blog I follow or read an interesting article in a magazine or hear a long forgotten gem on the radio. But a couple of weeks ago my friend David K posted a video on his Facebook page of Crack the Sky doing “She’s a Dancer.” Eureka! I hadn’t thought about that band or song for a very looong time.

If you’ve never heard of Crack the Sky, you’re not alone. Most people haven’t, unless you’re from their adopted hometown of Baltimore (they were originally from Pittsburgh) where they were a big hit in the mid seventies.

The band was led by John Palumbo and played a very smart, pop biased form of progressive rock – at least in the strictest sense. Their songs are played by virtuoso musicians, often use complex arrangements, tricky time signatures and have pretentious lyrics, and on occasion run very long. But most of the songs still fit into more conventional pop structures.

Take the song David reminded me about, “She’s a Dancer”, for instance.

“She’s a Dancer” is from CTS’s self titled debut (1975). The album received some critical praise – Rolling Stone declaring it “Debut Album of the Year” – but it did little in sales or airplay. The song contains many of the characteristics described above but also comes in under 4 minutes and contains some latter day Beatles’ influence. Plus it ends with a pretty cool, horn driven, instrumental section played by the Brecker Brothers and David Sanborn. Not too shabby!

The lyric covers some of the same territory as The Kinks “Lola.”

Check out the rest of the set and their fine second album, Animal Notes, on Spotify.

Enjoy… until next week.