Song of the Day #7: This Land Is Your Land - Woody Guthrie

 This Land Is Your Land - Woody Guthrie

Song of the Day #7

Apple Music link: https://music.apple.com/us/album/this-land-is-your-land/125968823?i=125968828

Spotify link: https://open.spotify.com/track/3ZjrfGcb3A2PMGA1vRNgSk?si=ae123865a99e44b0

I know, it looks pathetic to even attempt to write about this song. It's been covered, quoted, parodied, and celebrated for almost 8 decades now, and even a lot of Americans who don't know anything about the history of Western popular music probably know this one. It's been canonized on the level of the American national anthem at this point. What more is there to be said?

Well, how many people have actually heard it from the source? The original recording garners only around 13 million listeners on Spotify, which sounds like a lot, but it's really not when you consider how famous it is. And of those listeners, how many of them listen to it for its own merits rather than kowtowing to its cultural significance? Even less I reckon. As far as I know, the only serious discourse around this song is by music critics, everyone else not regarding this as more than a piece of history.

This is a great shame because I think the original recording is stunning. Forget that the melody was partially ripped from "When the World's on Fire." Folk music, and roots genres in general, is much more about personality and performing than compositional talent. Indeed, the reason this song hits so much harder than any other American anthem is that the song doesn't try to be an anthem. At its core, it's just a personal declaration of love for America's natural beauty. The song isn't much more than Woody telling you about his experience with nature and how it made him feel. It's not even a patriotic song: it could have described a personal relationship with any natural landscape. There's a reason that Woody almost called it "God Blessed America for Me," and it's not just because it was written as a response to "God Bless America."

What gets to me the most is the imagery. I mean just read the lyrics of this song. These images are not only descriptions of the American landscape but also encapsulations of the awe and reverence towards the natural world. The personalized emotional lens is what gives the lyrics their magical property: "ribbon of highways," "sparkling sands," and "endless skyway" are all exaggerated descriptions, but when we are head-over-heels in love, those big emotions effectively become our reality. The song may not have the most intricate lyricism, but in this intimate setting, it takes on a very personal context, describing the innate spiritual bond all people feel towards where they come from. I'm sure that's the real reason for its timeless value: it's merely not relevant to an American in the 1940s but to everyone who loves the world in all of its natural glory. Don't merely enjoy this great song as an artifact of the past. Go take a road trip late at night through the highway in the desert and put this song on: I'm sure you'll get what he's talking about.

Song of the Day #6: Mellow - Elton John

 Mellow - Elton John

Song of the Day #6

Apple Music link: https://music.apple.com/us/album/mellow/1440910513?i=1440910677

Spotify link: https://open.spotify.com/track/51Y1WwassIhqZYBwwaAjzr?si=6daee46803dc48ea

I feel a lot of music snobs sometimes feel a bit nervous rating Elton John as a major artistic giant of the 70s because of how easily Elton John could emotionally manipulate his audience to reach his goals. A lot of the time, Elton tries to appeal to the most primitive parts of your senses and intelligence, and when he became more serious, his ambitions elevated to such sky-high levels that you would think the nonchalant piano man would surely fail. On paper, Elton John is the kind of artist who should have been truly awful, which causes many to not even give him a chance. Those people are missing out: his musical genius is such that he is able to use that magical combination of excellent melody-writing, classy musicianship, brute expressiveness, and Taupin's intelligent lyrics to make his music succeed on all accounts. 

Take this song for example. Yes, he's forcing this song to be a big universalist McCartneyesque anthem. Yes, he uses every cliche in the book, from the serious piano intro to the introspective verses to the bombastic chorus. Yes, the song uses repetition to get its point across. And you know what? It really, really works. Every time I hear it, I get swept off my feet by its epic feel, its melody being absolutely gorgeous. I don't know whether this song is sincere at all, but Elton's piano playing and singing are more emotionally affecting than dozens of "bleeding" singer-songwriters. It has the exact same effect as ballads like "Maybe I'm Amazed" or "Hey Jude:" it's hard to tell why those choruses have their soul-nourishing greatness, but boy, do they have a lot of it.

I'm honestly shocked that it wasn't released as a single seeing how much potential it had. Even when discussing Honky Chateau, I never see it brought up as a big highlight. Well, I'm here to say it's every bit as good as anything Elton put out in his golden period, so you got to go right away and hear it: Elton John's career from 1970-1975 is one of those rare, shining cases where artistic genius coincided with commercial success. This song is an example of why Elton's good fortune was absolutely deserved.

Song of the Day #5: All Your Love - Otis Rush

 All Your Love - Otis Rush

Song of the Day #5

Apple Music link: https://music.apple.com/us/album/all-your-love-i-miss-loving/193677889?i=193678129

Spotify link: https://open.spotify.com/track/3dTKNQxas5m4cuunpHiVpi?si=71d9c3b8891a4a44

I will admit that I'm no electric blues connoisseur, but I will be shocked if anyone could rival Otis Rush in the electric blues scene in the 50s, maybe besides the 3 Ws of Chess. Maybe Otis Rush did not have the cockiness of Muddy, the overwhelming vocal power of Howlin' Wolf, or the swampy vibe of Sonny Boy Williamson II, but all three of those guys always sounded like it was at least a bit of an act at times. Could you ever imagine Howlin' Wolf walking around the block shredding his voice like that? Unlike them, Otis Rush's singles at Cobra always involve his authentic self first and foremost. When he sings lyrics like "My drowning heart / Oh all the tears I've cried / Oh I may weep forevermore / My love will never die," you get the feeling he really meant that, and if you aren't fully convinced, his guitar will do the trick of showing you.

That's why this song is such a masterpiece. Eric Clapton did a marvelous cover of the song on Bluesbreakers, where the production was crisp, his tones cut deep, and he added new guitar tricks to the song that worked perfectly (for example, hear how Clapton makes each sustained note on his guitar sizzle when the chorus begins). Yet, nothing compares to the original in terms of depth of emotion. The poorness of the production makes it sound like those horns are cracked and beaten down, simply bleeding with emotion. Mixing those Afro-Cuban rhythms with Otis's burning vocal performance makes the song such a gut-retching, desperate plea for holding onto one's love, and those solos once the groove transitions simply scorch into your soul. And that riff, you can't get away from such a magnificent riff. 

Christ, words just fail me when it comes to this song, it's just one of the greatest pure blues recordings I've ever heard. It's considered a standard, but neither the rewrite of the song "Black Magic Woman" nor Clapton's version even begins to touch this sheer perfection. Be sure to give this song many, many listens: every single second of this recording is priceless.

Song of the Day #4: Shake For Me - Howlin' Wolf

 Shake For Me - Howlin' Wolf

Song of the Day #4

Apple Music link: https://music.apple.com/us/album/shake-for-me/1423339042?i=1423340111

Spotify link: https://open.spotify.com/track/5kj3Q1fVwgb2f8SxFT6bD5?si=afb0b3cd33e84c66

Although "Shake For Me" was originally the A-side to "Little Red Rooster," the latter is the one that gets nearly all the attention and critical acclaim, not only because of the Cooke and Rolling Stones covers but also being probably closer to what people expect from someone like Howlin' Wolf: a terrifying, slowly-crawling masterpiece featuring an absolutely shredding vocal performance. I love both the A-side and B-side dearly, but I have to say I've always been a bit more partial to the A-side. It might sound more danceable and accessible than "Rooster," but when you start closely listening to the song, it can creep under your skin just as much as its more famous sibling does.

You don't even need to go further than the intro to be impressed by the song. Just hear how Hubert Sumlin's frantic, paranoid guitar licks scurry all around the place, almost as if each of those licks is a small critter running for its life to hide from the big bad wolf. When Wolf starts singing, he really does sound like a vicious, animalistic predator, ready to quench his thirst for blood by ripping open any animal he sees. The groove of the song almost cannot handle Wolf's terrifying presence, where it sounds like his voice is physically beating the shit out of the rhythm section to make it dance the way he wants it to. This is one of the most brutal songs he ever put out, not a single compromise he gives in terms of the vocal performance nor does his band ever stray from the minimalistic but ferocious musical arrangement.

And we really shouldn't discount the role of the musicians in the success of this song. In fact, even if it were purely instrumental, I have no doubts it would still be an awesome track because of the great guitarist Hubert Sumlin's juicy licks. That jaw-dropping solo around 0:54 is something to behold, the guitar sounding like a breathing, animate creature giving everything it can to survive (perhaps the prey Wolf is trying to consume?). While the bag of tricks seems limited here, you cannot deny the tones and few ideas here are astonishing in their power and perfectly complement the mood Wolf tries to set.

I could probably talk a bit more about this song, but there's no need: just go ahead and hear this incredible song right now. Just don't hear it when you're in a shady, poorly-lit place: your nerves will positively be on the edge.

Song of the Day #3: Then He Kissed Me - The Crystals

 Then He Kissed Me - The Crystals

Song of the Day #3

Apple Music link: https://music.apple.com/us/album/then-he-kissed-me/382736253?i=382736552

Spotify link: https://open.spotify.com/track/7jeOETwLUP84mPQzxlD5nh?si=65f9891a8f084333

I will say that I honestly have not heard much from the Crystals before today. My tastes when it comes to pre-60s music generally run towards R&B, blues, and rock and roll, and compared to those three scenes, most pre-60s pop music just hasn't aged very well. Yet, such is the magic of Phil Spector's production style that this song immediately moved me to tears despite my lack of taste in this depersonalized, manufactured era of pure pop music. Say what you will about Spector (and he was an absolutely horrible human being), there are few producers who can take ordinary songs to whole new levels of emotionality while still leaving such a distinctive stamp on everything they touch

I think part of the magic of his early style is the percussive sound behind all of the songs. Almost all classic Spector-produced pop songs have this huge, bombastic drum sound that gave each song sound unbelievably huge, almost regal quality to them, almost like the kingdom of heaven was coming to your doorstep. Unlike most overly sappy arrangements that plague a lot of pre-60s and especially Motown pop, Spector didn't just slap on an orchestral arrangement or a loud drum sound because he thought it would be palatable to the masses: he was creating idealistic mini-universes with these songs that operate on a whole different spiritual plane than practically anything else in the pure pop sphere. Spector's production FORCES you to take his songs seriously, and in the end, that's why songs like this one have aged so well.

Though, I will say this one is not just production style over songwriting substance: it has a gorgeous melody, one where the verses are just as mesmerizing as the chorus, and the buildup to that chorus is absolutely cathartic. I bet this song could have been a hit without Phil's production, but with his arranging genius, this song becomes a timeless masterpiece. It must have very deeply shaken the foundations of the young Brian Wilson, whose cover on Summer Days was not just faithfully recreating the spirit as much as he was channeling his sincere love for this song itself. And hey, if there is a pop producer who should blow your mind, it should be someone like Phil Spector.

Song of the Day #2: New Grass - Talk Talk

 New Grass - Talk Talk

Song of the Day #2

Apple Music link: https://music.apple.com/us/album/new-grass/1444218854?i=1444218874

Spotify link: https://open.spotify.com/track/3MSXyJUuFs9SZ7K5hd54nA?si=36f2c73b8a3647cf

Talk Talk is one of those bands that I find impossibly difficult to write about, simply because words are just not apt to express what effect Colour of Spring, Spirit of Eden, and Laughing Stock has had on my life. Their music exists on such a transcendent spiritual plane that I have to almost prepare myself for the intense emotional experience that listening to them brings. Even a song like this that I've heard dozens of times in my life, I cannot even begin to describe how the combination of notes, chords, and arrangement choices brings me to a meditative state: no description can really do it justice.

But I will say that, like all good spiritual sources, Talk Talk's music has the ability to bring life into clarity, showing how feeble our ordinary materialistic lives are in the face of such cosmic grandeur and unity with all things. I was feeling quite depressed when I woke up on this day, and I decided to go on a walk to clear my head. Somehow, I knew I was emotionally ready to listen to this Talk Talk album on this walk. It was truly a soul-healing experience that not only brought me a great deal of inner peace but also made me love being alive more than ever. To me, it's a demonstration of Talk Talk's genius that the album could bring me back to a much calmer state and bring me back in touch with my spiritual side. I don't even have to be in the mood to feel something from this music: it simply takes me there.

The part of Laughing Stock that made the greatest impact on me during the walk was "New Grass." So here is the song in all its glory, but if you are new to this band, do yourself a favor and listen to their 5 albums + Mark Hollis's solo album in chronological order. It might seem cliche to say a band could change your life, but Talk Talk's discography could truly put you on the path to happiness and enlightenment. What could be more beautiful than that?

Song of the Day #1: Double Trouble - Otis Rush

 Double Trouble - Otis Rush

Song of the Day #1

Foreword before I begin this series: since I now invest most of my music-writing energy in writing full-fledged pieces for a music journal, I probably won't be able to review complete discographies for now. Instead, I decided I could try to write a small amount casually about a song every day. Some days I'll keep it to a brief description, and some days I'll write more than that. But I do like writing about music causally as much as I do in more serious articles, so I'll try to keep this blog going through this series.

Apple Music link: https://music.apple.com/us/album/double-trouble/193677889?i=193678116

Spotify link: https://open.spotify.com/track/3JggrSor1wtd74bvF2fsmz?si=a248e17001764243

I am deeply ashamed to say that, for some bizarre reason, I just wasn't terribly impressed by Otis Rush when I first checked out. One listen to this recently changed this completely because this has become one of my favorite songs of all time, and it probably is my favorite blues recording ever as of now. And I'm sure if you hear this song once or twice, it should be pretty evident why.

This is one of those songs to hear to not when you are merely sad. You have to be truly beaten down over and over again, giving everything to try to survive but failing anyways while seeing everyone around you succeed. It's one of the most vulnerable, aching songs in the whole genre, where pretty much everything about this song simply bleeds with emotion, from the hazy horn swoops to the bleeding guitar soloing to the beaten-down vocal performance. There's not even a single attempt at toughness in the whole song: Otis's frustration has been channeled into inner turmoil and paranoia, pleading for a way out of this cruel, unfeeling world. He really must have been battling some fierce inner demons to deliver lines like "they say you can make it if you try / yes, some of this generation is millionaires / it's hard for me to keep these clothes to wear" so effectively and sincerely. It becomes truly chilling right after when that ringing guitar-horn combination absolutely annihilates you, one of the greatest musical demonstrations of drowning within oneself I've ever heard. This is taking electric blues to a whole new level of expression.

There are just so many details about this song that make it so hard-hitting. The poor production gives the song a murky, raw feel. The scorching guitar solos, especially the stinging one around 2:00. The way the horns subtly build that tense, haunting atmosphere. It's just one of those timeless masterpieces that I feel should have universal appeal, containing a mood so powerful that it forces itself upon you. Yet, the song is still so underrated that it blows my mind that it isn't remembered as a major classic of its time. Let this mini-review be my very small contribution to the reputation of this crushing, heartbreaking masterpiece, one of the greatest odes to defeat and the suffering that comes with it ever recorded.