Nightly Song
Musings on Songs that Strike a Chord Tonight

Archive for June 2010

Thirteen by Ben Kweller

June 10, 2010

Thirteen

Performed and written by Ben Kweller.
This mesmerizing love song rides near stream-of-conscious lyrics made striking by the piano and the quiet insistence of the vocal performance. Kweller defies normal song structure – there is no chorus; instead, he relies on three line verses bursting with images and thoughts and the piano’s rhythm to carry us forward. The effect is like closing one’s eyes and watching scenes from a relationship roll past. The lyrics speak of joy, the images spark images of a world opening up and made more vibrant by the relationship, yet the voice and piano convey a poignancy and sadness. Perhaps the tenderness arises from recognizing how fragile a relationship can be, perhaps from a period apart. It is the underling tension between the music and lyrics that make the song so affecting.

In an interview, Kweller has said the title comes from the date he married his long-time girlfriend, Liz Smith, and the song is peppered with references to their relationship (e.g., the necklace once worn by her mother, the phone calls on which they built the relationship, etc.). Yet the song remains accessible to all listeners.

Personality Crisis – New York Dolls

June 9, 2010

Personality Crisis

Performed by the New York Dolls and written by David Johansen and Johnny Thunders of the Dolls.

I caught the movie Get Him to the Greek Last Night (bawdy, funny and worth the ticket) which concerns the efforts of a well-meaning music lackey trying to get a drug-addled, alcohol-soaked rock star whose made excess a lifestyle from London to Los Angeles. Along the way, the duo finds themselves coming to New York for a TV interview. As they enter the City, the film runs through a montage of rock clubs, hip scenes and icons all played over a soundtrack of the New York Dolls’ “Personality Crisis.” In that instant, it becomes clearer than ever that “Personality Crisis” is a perfect New York Song.

No one song can capture all of the essence of New York City, but this rave distills the crazy energy that careens from reckless parties to scary encounters all with a wide-eyed enthusiasm. Robert Christgau nails the Dolls and this song when he writes, “It takes brats from the outer boroughs to capture the oppressive excitement Manhattan holds for a half-formed human being the way these guys do.”

They Dolls invented glam rock and cut a path the New York punk groups could follow and widen, boys tottering on towering heels swapping lipstick and mascara backstage and ready to fight anyone who got in their way. This song sounds like a 4 a.m. street party that the cops can’t shut down. John Thunders and Sylvain Sylvain wield guitars like flame throwers; David Johansen struts, stutters, screeches, howls and croons and Jerry Nolan’s breakneck drumming keeps its all from spinning out of control. Sure, you can hear the Stones in there – what hard rocking band didn’t take off from the Stones? – and you can hear some Mark Bolan and the Stooges, but there’s also dashes of the girl groups these boys loved so much, just listen to their efforts to harmonize in the chorus. Is it fair to say that had the Dolls not sprung up in the early 70’s, we wouldn’t have had a Ramones and Blondie in the late 70’s?

Murder in the City – The Avett Brothers

June 8, 2010

Murder in the City

Performed and Written by the Avett Brothers.

“Murder in the City” features another facet of the Avett Brothers – a quiet, ruminative stream with unexpected twists and a performance that can break your heart. Hailing from Concord, North Carolina and playing a host of hardcore, hard-living songs that sound might be called speed country; a change of pace like this ballad can stop you in place. And the subject matter which catch you off guard as well, especially with the title. No violence here, no dark tale of bloodshed, instead, this song turns into a meditation on family and fate. Scott Avett provides the lead vocal while quietly picking at this guitar; brother Seth adds some minimalist piano. The music pushes the lyrics and vocals front and center.

Mother of God by Patty Griffin

June 4, 2010

Mother of God

Written and performed by Patty Griffin.

I told myself that I’d write about “Mother of God” because we have tickets to see Patty Griffin (and the Avett Brothers, Sharon Jones & the Dap Kings, Richard Shindell, etc.) at the Appel Farm Festival this Saturday (thanks to Paddy and Jamie for the tickets). Truth be told, this song’s been running round my mind for many months. Griffin’s singing and the ethereal, yet muscular longing of the music persists in memory and functions like the pebble in the oyster agitating its way to something beautiful. The song sounds less like a performance and more a woman talking aloud, as if hearing her own words will help her find some peace and understanding. Far from a mere pop song or simple singer-songwriter confessional, “Mother of God” struggles to understand family and faith, life and purpose, and it avoids easy answers. The song evolves into a type of prayer, an offering of hope in the face of near certain futility.

Griffin builds the song around two women: a mother and the titular Mother of God. The singer/narrator, perhaps the eldest boy in the family or perhaps another sibling, is the third character in a kind of familial trinity, three separate, yet unified characters. Points of view fluctuate, the three main characters conflate and, though we follow a certain story and timeline, in many ways, the song views the same women and same relationship from different viewpoint. It is a song as cubist painting.

Best Baseball Songs

June 3, 2010

Best Baseball Songs

Usually I write on one song at a time, but here’s a baseball songs for your consideration. Each concerns a team, a player or has some relation to the game. Baseball has to figure in the song, so “Wild Thing” doesn’t make the cut no matter how attached it has become to baseball since the movie Major League.

I’ve started with my favorites, the songs I like or play or find interesting. I’m sure you’d come up with a different list. I then included a longer list of others you might find interesting. Of course, I’m sure that I’ve missed more than my fair share so add your comments and post of other songs.

I start with the lists and then provide notes for the top thirteen down below. Enjoy

Kiss Off by the Violent Femmes

June 2, 2010

Kiss Off

Performed by the Violent Femmes. Written by Gordon Gano.

At their best – and that includes “Kiss Off” – the Violent Femmes distilled a raging stream of consciousness that gave voice to horniness, confusion, anger, fear, rebellion and a general what-the-fuck attitude. We’re not talking about the idea of teenage angst or anyone else’s idea of angst; we’re talking the thing itself. Their songs arose from the usual themes of sex, drugs, rock ‘n roll, or more precisely, a longing for sex, drugs and rock ‘n roll and they avoided clichés, wallowing and novel staring in favor of primal scream. “You can just kiss off/yeah, yeah, yeah” the bellow.

The Violent Femmes were three guys banging three unamplified instruments – upright bass, simple snare drum and acoustic guitar – for all their worth. In songs like “Kiss Off,” Gordon Gano sings with an urgency that captures the collision of what’s racing around his mind and coming from his crotch.

Gallo del Cielo by Tom Russell

June 1, 2010

Gallo del Cielo
Written and Performed by Tom Russell.

Here is an example of songwriting at its best, making a sublime legend of a story of a man who steals a fighting rooster. Like all great stories, there is so much more to this song than what first appears: adventure, loyalty, honor, gambling all set against the backdrop of a time before California joined the U.S. The Tex-Mex music, complete with accordion, perfectly matches the lyrics.

Come along for the ride with Carlos Zaragoza who “left his home in Casa Grandas when the moon was full.” He flees with “no money in his pocket, just a locket of his sister framed in gold.” Russell’s singing imparts nobility to this effort. Zaragoza heads to El Sueco, where he steals the roster called Gallo del Cielo, the rooster from heaven, and then travels north of the Rio Grande. Listen to the details; hear the hints of beauty and mystery, and the accordion weaving underneath that adds resonance.