Tag Archives: song of the week

Song of the Week – Mary, Mary; The Monkees, Paul Butterfield Blues Band, Run-D.M.C.

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The story of The Monkees is well-known. The “Prefab Four” — Michael Nesmith, Micky Dolenz, Peter Tork, and Davy Jones — were a group of actors/musicians assembled to portray a band on the NBC television sitcom that aired from late 1966 to the spring of 1968.  Although each member possessed some musical talent, the group was initially prevented from playing their own instruments on their early recordings.  Instead, the famed Wrecking Crew, a collective of top session musicians, performed on their tracks.  Furthermore, many of their Top 40 hits were penned by renowned songwriters such as Neil Diamond, Carole King and Gerry Goffin, and Tommy Boyce and Bobby Hart. This arrangement was met with resistance, and in 1967, the band finally gained full control over their music.

From the beginning, Nesmith stood out as the most accomplished musician and songwriter.  He is widely recognized for composing “Different Drum” in 1967, which was released by the Stone Poneys and sung by Linda Ronstadt.  Ronstadt favored the country-tinged arrangement, which was inspired by the original version recorded in 1965 by the Greenbriar Boys.  However, producer Nick Venet preferred a more intricate, pop-oriented sound, complete with a distinctive harpsichord.  The result?  A hit — the Stone Poneys’ version peaked at #13 on the Billboard Hot 100.

Nesmith also contributed songs to The Monkees catalog, including “Mary, Mary,” which appeared on their second album, More of the Monkees (1967).

The track is a straightforward, upbeat rocker, featuring sharp guitar work from James Burton and Glen Campbell, and dynamic percussion by Hal Blaine and Jim Gordon — members of the Wrecking Crew.

However, you might not know that the Paul Butterfield Blues Band recorded a version of “Mary, Mary” before The Monkees did, for their East-West album in 1966.

The Butterfield group hoped the song would be a commercial success, but it was never released as a single.  Nevertheless, their rendition stands as a compelling interpretation, marked by a bluesy harmonica, keyboard flourishes, and a wild Mike Bloomfield guitar solo that brings the track to an exciting climax.

The song saw a resurgence in 1988, when producer Rick Rubin brought it to the hip-hop group Run-D.M.C.  It was recorded in the rap-rock style that yielded a massive hit in 1986 with their collaboration on Aerosmith’s “Walk This Way.”

Their version of “Mary, Mary” made a modest but noteworthy appearance on the Billboard Hot 100, peaking at #75.

Each of these versions offers a unique listening experience, making “Mary, Mary” a fascinating song to revisit across different genres and eras.

Enjoy… until next week.

Song of the Week – Why D’ya Do It, Marianne Faithfull & Carrie Anne, The Hollies

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WARNING:  Today’s first SotW contains explicit language that you may find to be offensive.

Marianne Faithfull tragically passed away on January 30th at the age of 78, leaving behind a legacy marked by striking contradictions.  Born into a highly educated family with notable ties to aristocracy, she was educated at the prestigious St. Joseph’s Roman Catholic Convent School.  As a teenager, she was famously “discovered” by Rolling Stones’ manager Andrew Loog Oldham, who infamously described her as “an angel with big tits.”

Faithfull’s debut recording, the timeless hit “As Tears Go By,” was penned by Mick Jagger and Keith Richards after Oldham locked them in a room, declaring they could not leave until they had composed a song for her.

Throughout the late 60s and early 70s, Faithfull succumbed to the turbulent haze of drug addiction, yet remarkably, she managed to survive. During this tumultuous period, she became the muse for several iconic Rolling Stones tracks — “She Smiled Sweetly,” “Let’s Spend the Night Together,” “You Can’t Always Get What You Want,” “Live With Me,” and “Wild Horses.”  Faithfull also channeled her own painful experiences into writing the raw and unforgettable lyrics of “Sister Morphine” (though the band denied her credit for many years).

In the late 70s, she staged a monumental and defiant comeback with her groundbreaking album Broken English (1979).  Inspired by the explosive punk rock movement that was sweeping the music scene, Faithfull boldly embraced a new, rebellious sound.

The album’s final track, “Why D’Ya Do It,” is a searing, intense confession.

Over a gripping quasi-reggae rhythm, Faithfull recites the dark, biting words of a poem by Heathcote Williams. As MOJO writes:

“… ‘sing’ barely describes the haunting, raw, ravaged keen that characterises her delivery throughout, and which contrasts so startlingly with the folky warble of her 60s recordings.”

And,

[The song] “is a torrent of foul-mouthed abuse aimed fairly obviously at inconstant lover Ben Brierley, which makes that turmoil all-too plain…”

In stark contrast, another song inspired by Faithfull is The Hollies’ cheerful pop tune “Carrie Ann.”

This lighthearted, upbeat track seems to reflect the many layers of Faithfull’s multifaceted life and public persona — a portrait of a woman whose experiences, both soaring and heartbreaking, shaped her extraordinary journey.

Enjoy… until next week.

Song of the Week – Hat and Beard, Eric Dolphy

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In 1964, Eric Dolphy released Out to Lunch!, an avant-garde masterpiece that stands as one of the most daring and influential works in the history of jazz. As a multi-instrumentalist, Dolphy assembled a stellar ensemble of jazz virtuosos, including Freddie Hubbard on trumpet, Bobby Hutcherson on vibraphone, Richard Davis on bass, and the prodigious 18-year-old drummer Tony Williams.

The album opens with the now-iconic “Hat and Beard,” a composition that pays homage to Thelonious Monk, celebrated not only for his unique musical style but also for his distinct sartorial choices.

On “Hat and Beard”, Dolphy plays the bass clarinet, and the music pulses with dissonance, chordal improvisation, and thrilling rhythms, cementing its place as a timeless classic.

The song’s introduction evokes the eerie atmosphere of a crime fiction soundtrack, perhaps one inspired by the hardboiled novels of James M. Cain or Raymond Chandler. Throughout the piece, Dolphy and Hubbard deliver bold, adventurous solos that captivate the listener. Meanwhile, Davis adapts his basslines to complement the soloists, even using his bow during Hutcherson’s vibraphone solo, adding a layer of depth to the performance. The drumming, too, is exceptional, with Williams demonstrating remarkable dexterity and creativity that enhances the intensity of the track.

Out to Lunch! was Dolphy’s final album as a bandleader. Tragically, he passed away just a few months after its release, at the age of 36, while in Germany. Although the exact cause of his death has been the subject of some debate, it is most commonly attributed to undiagnosed diabetes.

Enjoy… until next week.

Song of the Week – Who’s Behind the Door, Zebra

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Zebra, the hard rock band that soared to stardom in the 80s, isn’t typically my cup of tea.  However, I like to maintain an open mind when it comes to all types of music, and I must admit that I’m deeply fond of their epic song “Who’s Behind the Door?”.  The track is featured on the band’s debut eponymous album (1983), which unexpectedly peaked at #29 on the Billboard 200 albums chart and was certified Gold.

I was initially drawn to the song by its powerful and dynamic music. “…Door” is clearly inspired by the legendary Led Zeppelin, who crafted numerous iconic songs that begin with delicate acoustic guitar riffs and dramatically explode into thunderous electric hard rock. Singer/songwriter Randy Jackson’s raw, high-pitched voice also bears a striking resemblance to Zep’s Robert Plant.

The lyrics delve into profound existential questions, exploring how one might find answers to life’s mystical mysteries. The identity of the enigmatic “they” remains obscure — they could be gods, or perhaps otherworldly highly intelligent alien beings.

In an intriguing interview with Casey Chambers of thecollegecrowddigsme.com, Jackson described his inspiration for the song:

“…I was in Texas at my grandparent’s farm, which is isolated right outside of Dallas. I had some guitar parts that I had written in open tuning… in open G. Just a whole bunch of rough ideas scattered across different cassette tapes. I’ve always been a huge fan of visionary films like 2001: A Space Odyssey.

The farm was quiet and remote, with no phone, no distractions. The song carries a spiritual air in places, and that religious undertone, in a roundabout way, was one of the biggest influences on the song. I think the combination of the open tuning, melody ideas, and the mysterious theme from 2001 led me to create ‘Who’s Behind The Door?’.”

Though many may find the lyrics slightly hokey, I understand how the mesmerizing combination of moving music and intricate words made it such a chart-topping hit in the 80s.

Enjoy… until next week.

Song of the Week – Bad Case of Loving You, Moon Martin

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“Bad Case of Loving You (Doctor Doctor)” became a Top 20 hit for Robert Palmer in 1979, a testament to Palmer’s talent for picking great songs.  With his powerful voice, excellent backing musicians, striking looks, and impeccable sartorial style, Palmer had all the ingredients for success.

However, today’s Song of the Week (SotW) focuses on the original version of the track, written by Oklahoman Moon Martin.

Martin released his rendition on his debut album Shots from a Cold Nightmare (1978), which concocted a new wave-infused rockabilly sound.  For this recording, Martin enlisted fellow Oklahoman Phil Seymour (known for his work with the Dwight Twilley Band) on drums, alongside Blondie bassist Gary Valentine.  The album’s production was handled by Craig Leon, whose credits include work with The Ramones, Blondie, Willie Alexander, and Richard Hell & The Voidoids.  The result was a unique and fresh —  introducing a distinctive style to the music scene.

So, why did I give the nod to Martin’s original over Palmer’s more widely recognized version?  While Palmer’s vocal performance is undeniably fantastic, he loses some points for staying so faithful to Martin’s arrangement.  In this case, I wanted to shine a light on the songwriter himself and give him the credit he deserves.

It’s also worth noting that Martin wasn’t done yet.  Shots from a Cold Nightmare also featured “Cadillac Walk,” which was later given a cool interpretation by Mink Deville, further showcasing Martin’s knack for crafting songs that others couldn’t resist covering.

Enjoy… until next week.

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 – 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.