Tag Archives: song of the week

Song of the Week – Dizzy, Wyldlife

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Recently, I was listening to Little Steven’s Underground Garage when I came across his pick for his Coolest Song in the World.  It was “Dizzy,” the latest single by the New York City-based post punk/power pop group, Wyldlife.

In an interview with Thrasher Magazine, lead singer Dave Feldman shared some insight into the band’s eclectic influences:

Someone said that Wyldlife was the sound of an infinite amount of influences. I think that’s a good way of putting it. We like Cheap Trick and The Raspberries and 20/20 but I don’t think we’re a power pop band. We love Johnny Thunders and The Dead Boys and The New York Dolls but I wouldn’t say we’re a punk band. I think you can take notes from all of those bands, you can be a little bit of everything, and you can keep people guessing and then not everybody has the same favorite song of yours. We don’t know what we are, but to say we’re a rock ‘n’ roll band is too vague. But I think the best NY bands are loud, slightly dirty, slightly sketchy and they look really fucking cool, so yeah, that’s us.

Their sound is a collision of styles, and I’d also throw in other bands like The Replacements, Oasis, and The Undertones as reference points.  It’s that blend — raw, catchy, and unpredictable — that gives Wyldlife their distinct vibe.

“Dizzy” will appear on the band’s upcoming album Sorted, but until the full release drops, at least we’ve got this high-energy single to hold us over.

Enjoy… until next week.

Song of the Week – Too Much Blood, Rolling Stones

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The Rolling Stones’ Undercover (1983) album is one that I never listened to very much.  But I dropped the needle on it a few nights ago and was drawn in by the raw energy of the track “Too Much Blood.”

Though credited to the classic Jagger/Richards duo, it was largely written by Mick Jagger and may have been recorded with little to no input from Keith Richards.

The lyrics were inspired by the disturbing true-life story of Issei Sagawa, who murdered and cannibalized Renée Hartevelt in Paris in 1981.  The grisly details are best left to your own research — but suffice it to say, the subject matter is intense.

Jagger has described “Too Much Blood” as an anti-violence song and a critique of the media’s sensational coverage of such horrors.  But it isn’t the lyrics — or his somewhat cringey attempt to rap — that drew me to the song.  What hooked me was the music — the driving rhythm, punchy horn arrangement (featuring the late, great David Sanborn), and the primal, hypnotic percussion by Sly Dunbar.  This track puts the F in funky — it’s all about the groove.

“Too Much Blood” proves that even on one of the Stones’ most insignificant albums, there are still gems waiting to be discovered.

Enjoy… until next week.

Song of the Week – New Girl Now, Honeymoon Suite

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“New Girl Now” was a power pop, one-hit wonder that burst onto MTV back in 1984.

Written by Canadian guitarist Derry Grehan and recorded by his band Honeymoon Suite, the track has become a quintessential slice of ’80s rock.  Like many bands of the era, Honeymoon Suite got their start playing covers in local Ontario venues.  But they weren’t just mimicking hits—they slipped in a few originals too, and “New Girl Now” was one of them.

When Toronto rock radio station Q107 announced a song contest, the band jumped at the chance.  They recorded a demo, sent it in, and—lo and behold—they won.

The 2 Loud 2 Old Music blog opined:

The song is pure 80’s cheese…and that isn’t a bad thing. It is about as AOR as you can get too. Crunchy guitar riffs, banging drums, stinging keyboards and a catchy chorus. Johnnie Dee has that high-pitched vocal of the time and of course there is a guitar solo. All the boxes are checked. With that being said, it is a great song as this was the sound of the time and Honeymoon Suite did it well. It is an earworm and will stick in your heard long after it is over.

I couldn’t agree more.

Enjoy… until next 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.