The Coronavirus Concerts

Here’s my new cover album, self-recorded at home on an Amazon Fire. This is going to be the new (& live) music delivery model for awhile, so of course I’m leading the way. That’s what it means to be a revolutionary artist.

These videos are listed in the order they were recorded, with publishing info on YouTube. One general performance note: I wear sunglasses because these aren’t my songs. It’s impossible to sing someone else’s song completely honestly, hence the dark shades when I do covers for the camera. Each video is presented, followed with a blurb.

I loved this song since high-school, even though I didn’t know what it meant. This is the single from their debut album, released in 1969. Mott the Hoople was a deep band, and are have always been disrespectfully under-represented by classic-rock radio. My style is to keep it simple, so I cut out a lot of the jamming. BTW, if I’m doing MTH covers, then I can’t be credibly accused of anti-gay bias.

It’s really hard to do Eddie & Dave well, but this is a good try, I say. No way I can do Eddie’s guitar wizardry, so I play it as a simple blues number. I mess up the intro, and start again, but who cares– right? David Lee Roth was a genius in so many ways, as this song really isn’t about ice cream. Van Halen through 1984 were the greatest rock super-group ever. If you don’t cover them, then you don’t rock.

This is a really difficult song to barre on guitar and sing as a man, so I shortened it where I could. Being able to mimic the electronica feel is the tricky part. I really loved this song from the first time I heard it. It’s also the first song I ever downloaded on Napster. The rest of the CD wasn’t up to par for the $20 it cost (IMO), and 45 singles weren’t available anymore. That’s how Napster changed the internet back then. Getting back to Madonna, anyone who can get “zephyr” into meaningful song lyrics, is a artistic genius. Take that from someone who knows. I’ve gone toe-to-toe with Madonna on Facebook for a long time now, so I’m paying her my respect. Love

Final production note: This was the only song I recorded with a fan blowing on me. Like I already said, it’s an electronica-type song, so I thought I’d experiment with an electronic device. It mostly kept me cool, so I could sustain the vibe. Anyways, that’s the slight difference in fidelity from all the rest.

Remember when I said this was a cover album? I lied. I took the sunglasses off to perform this song is about payola. “P2P” is fun for me to play live (whenever I can get a show), observing so many blank expressions in the audience. You either get it, or you don’t. I ham it up a bit here, so you can get it easily. This is a punk-pop song.

I reviewed this album here already. This was their MTV single, and every female singer-songwriter today should know & play it. Tanya Donelly uses an androgynous voice in this song, so it’s fairly do-able for men. See & hear more my link.

Liz Phair was the musical girlfriend all us lonely college guys could listen to, back around Exile in Guyville. I’ve listened to her CD hundreds of times. Somewhere around this song, running through “Canary” & “Mesmerizing,” it becomes sublime. This is another songwriter every woman (& man) with a guitar & voice needs to respect. Otherwise you’re fake.

“Kararak” is from Electrified! The riff was copped from “The Ballad of the Green Berets,” with the lyrics turned around.

“Haters Step Aside” is from Hwy 19 & Main St. I’ve done it live a few times, and it always works great. Sometime the club pulls the plug on me before I can get to it, so here it is forever.

Fugazi was perhaps the tightest punk band ever. They were masters of songwriting, sound, production & packaging. I blogged about them here.

“Tubthumping” is a great single, so I have it in my covers playbook. It’s party, as well as defiance. Chumbawumba was much more than a one-hit wonder. They also do a version of “Hanging on the Old Barbed Wire,” which I cover below.

This is from Over & Out, and I’ve thumb-nailed an image from the liner notes. I try to do this as a beer drinking sing-along, so feel free to yell out when cued. I’ve always thought this was a catchy novelty song, so I’m resurrecting it here.

“Millennial Whoop” is our latest single, as Tom Pearce & I extensively collaborated on this one. I delivered the song, while TomP produced the hell out of it. Rachel Decker is the vocalist. We were going for a Beastie Boys feel, if you can dig it. Here, I strip everything away and give you a rap song straight on guitar & vocals.

“Hanging on the Old Barbed Wire” is a soldiers’ song from WWI, so it is public domain. It’s only four verses, but very powerful in it’s economy & accuracy.

This is my favorite Tom Waits song, from my favorite Tom Waits album. You really need sunglasses (& a capo) for a song like this, because there is no way you can completely get to Waits’ abstractions. That’s the kind of artist he is. Someone who relates, but is also unknowable.

There was a time when the only way you were going to hear the Sex Pistols was to go to the record store and buy the album. I remember when I did and put on side 1, and then “Holidays in the Sun” exploded out. “EMI” is the closing track to their classic debut, which never lets up.

I felt obliged to do this song. Woody Guthrie was perhaps the original singer-songwriter. Bob Dylan & Bruce Springsteen also have moving versions of this classic. Everyone from Neil Young to John Fogerty were deeply influenced by Woody Guthrie.

I will end when I began, with “Primary Colors.” The coronavirus concert encore is my latest anthem, recorded & published on March 20, 2020. I believe it caps the show off nicely, delivering a compelling new song for the times.

Program notes: All this was performed & put together in 3 days, from March 20-22, 2020. I never left my home to do any of it. Now that “quarantine” & “social distancing” have entered our lexicon, these performances prove that meaningful music can still be delivered to people everywhere. What it takes is talent & heart.

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Women Who Rock

I’m not strict when it comes to genres. You can rock any form, including classical music.  There are plenty of women playing & conducting Mozart, the greatest rock-star ever.  These are the women I (mostly) respect in the various popular music forms which have evolved from the 1920’s (birth of audio recording), up through the year 2000 or so. This review hits the highlights, and is by no means exhaustive.

Bessie Smith (1894 – 1937) was the most popular female blues singer of the 1920s & 1930s, and a major influence on jazz singers:

bessie_smith-empress_of_the_blues

The Carter Family were traditional folk music, the first vocal group to become country music stars. They originally recorded from 1927 to 1956, and still exert a profound impact on bluegrass, country, gospel, pop & rock:

carter-family

Mahalia Jackson (1911 – 1972) was the ‘Queen of Gospel.’  She explained, “I sing God’s music because it makes me feel free. It gives me hope. With the blues, when you finish, you still have the blues.”

mahalia-jackson

Ella Fitzgerald (1917 – 1996) is still the ‘First Lady of Song’ & the ‘Queen of Jazz.’  No one sings the Gershwins’ or Cole Porter’s songbooks better:

ella-fitzgerald

Billie Holiday (1915 – 1959) had a profound influence on jazz music, as no one sang with more feeling:

Patsy Cline (1932 – 1963) was country music’s biggest star. Her hits began in 1957, and continued until her tragic death. She was killed in a multiple-fatality crash of the private plane of her manager, under murky circumstances:

patsy-cline_walking-after-midnight

Shirley Scott (1934 – 2002) was a hard bop & soul-jazz organist.  Known as ‘Queen of the Organ.’

shirley-scott

Early-’60s New York girl groups totally rock:

chiffons-1963

So do mid-’60s New York girl groups:

shangri-las

As did the Phil Spector girl groups:

spector-the-ronettes

Joan Baez was the original female folk-rock artist:

joan-baez-bob-dylan

The folk genre eventually became ‘singer/songwriter’ with artists like Joni Mitchell:

joni-mitchell

Nina Simone (1933 – 2003) was a true artist. She was a first-rate singer, songwriter, pianist & arranger who was able to work with (and earn the respect of) elite jazz artists such as Miles Davis. Simone was a civil rights activist when it mattered, and could work in virtually any musical style from R&B to classical:

nina-simone

Motown was the hit machine record label of the mid-late 1960’s, and the Supremes were label owner Berry Gordy’s top act:

supremes3

Martha Reeves and the Vandellas recorded some of the most gritty & danceable R&B of the Motown hit-making era:

marthav_motown

Tammi Terrell (1945-1970) & Marvin Gaye (1939-1984) is my selection for top duet couple. Terrell was diagnosed with a brain tumor in 1967, and had eight surgeries before succumbing to her illness at age 24:

tammi-terrell-marvin-gaye

Maureen Tucker was the drummer for the Velvet Underground.  Nico was the original bad girl, who became an artist no one understood.  This is where they fit in chronologically, but really they’re ~20 years ahead of their time:

andy-maureen-lou

nico7

Shocking Blue was a late 1960’s Dutch psychedelic rock band, which has famously been covered by Bananarama & Nirvana:

shocking-blue

Grace Slick and Jefferson Airplane were okay, I guess:

Janis Joplin (1943 – 1970) was a raw & uninhibited blues singer. Excess led to her accidental drug overdose, after only four albums including the posthumous Pearl (1970):

janis

In 1968, singer/songwriter/dancer Gal Costa became a part of the Tropicalismo movement, which was a Brazilian artistic movement whose anti-authoritarian & revolutionary expressions made them a target of censorship & repression by the military junta that ruled Brazil from 1964-1985:

gal-costa

Cuban singer Celia Cruz (1925 – 2003) was the ‘Queen of Salsa’, the most popular Latin artist of the 20th century:

celia-cruz

Googoosh is an Iranian singer/actress of Azerbaijani origin, and the most iconic pop diva in the Middle East. She is famously known for remaining in Tehran following the Iranian Revolution in 1979, and not performing again until 2000 due to the ban on female singers:

googoosh_iranian-diva

Country music traditionally paired its upcoming female stars with moldy oldie males, in order to give them the boost they often needed.  Dolly Parton was no exception:

porter-dolly

Aretha Franklin is the Queen of R&B/Gospel, with the perfect blend of attitude and vocal power:

lady-soul

Tina Turner’s version of CCR’s “Proud Mary” is possibly the most-covered karaoke song in pop-cultural history:

tina-turner

As for Hollywood, Bob Fosse’s Cabaret (1972) is the likely greatest musical ever filmed, and Liza Minnelli as Sally Bowles was a performance of a lifetime:

cabaret-1972

Same with the unstoppable & incomparable Barbra Streisand in Peter Bogdanovich’s What’s Up, Doc? (1972):

babs

Bette Midler was a Broadway performer who made her film debut in 1979 with The Rose, a hard-hitting fictionalized account of the life & death of Janis Joplin– one of the most stunning debut performances in Hollywood history:

bette-midler-1979

It’s a mystery why so many people hate on Yoko Ono, she was good enough for John Lennon (1940-1980), who always considered her an artist:

john-lennon-yoko-ono-1971

Jessi Colter was one of the few female country artists to emerge from the mid-1970s “outlaw” movement, which also featured Waylon Jennings whom she married:

jessi-waylon

The Swedish act ABBA helped bring disco to America, for better or worse:

abba_gold-records

Disco (1974-80) began as a street vibe, with DJ’s as artists & genre leaders. Disco was influenced by soul, funk, glam, reggae/dub & punk. It spawned new-wave, rap & electronica:

disco-box_4cds

Disco was a genre dominated by women, and Donna Summer & Gloria Gaynor became its greatest artists:

queen-of-disco

Disco was an explosion of minority street culture, gay pride, and feminism.  Acts like Sister Sledge, Chic & a host of one-hit wonders including: Shirley (& Company), Vicki Sue Robinson, Rose Royce, Lipps Inc, Anita Ward, (and too many others to list here) made some of the most enduring dance music ever created.

gloria-gaynor

These and other cultural institutions birthed in the 1970’s, were controlled by corporate machinery through record labels & radio monopolization.  This revolution in popular culture was quickly over-saturated and shamelessly exploited until its impact finally subsided.  By 1980, disco was history and newly-arrived MTV was channelling kids into new wave (Eurythmics, pictured below) and pop metal:

eurythmics

For some, punk is what really rocks and Patti Smith was the original poet:

patti-smith_-horses-1975

One of the greatest forgotten punk singers is Poly Styrene (Marion Elliot) of X-Ray Spex, accompanied by saxophonist Lora Logic (Susan Whitby):

xray-spex

The Raincoats were formed in 1977 by UK art students Gina Birch and Ane de Silva, inspired by the “anyone can do it” spirit of punk:

raincoats

Blondie was Debbie Harry (singer/songwriter), with good help from (guitarist/songwriter/lover) Chris Stein– when he behaved himself. Blondie began as NYC punk, and quickly became the biggest crossover artists of their era. “Heart of Glass” is punk/disco crossover; “Rapture” is THE original rap crossover; and “The Tide is High” is rock/reggae crossover:

blondie

Anyone who ever tried to start a band knows that good bass players are hard to find.  Punk/alternative has a long tradition of women on bass, starting with Tina Weymouth (Talking Heads):

tina-weymouth-talking-heads

Exene Cervenka was a lead singer for X, the legendary Los Angeles-based punk band:

exene-cervenka-in-x

The Slits (formed in 1976) in the words of band leader Ari Up:
“We felt naturally feminist without saying so. At the time you were expected to comb your hair perfectly neat and be glamorous, like the magazines tell you to be. You couldn’t be naturally sexy. I felt we were very sexy by nature. If we wanted to be sexy we were, but not to please men. We just did our own thing. In this way, we threatened society. The witch hunt was on. I was stabbed in the street, just for looking the way I did, by a guy who looked like John Travolta.”

slits_cut-1979

Post-punk feminism exploded with Pat Benatar, Chrissie Hynde (Pretenders), B-52’s, Siouxsie and the Banshees, Joan Jett, the Go-Go’s, Cyndi Lauper, etc…

pretenders-1980

b-52s

pat_benatar

the-go-gos

The biggest MTV star, and icon of the 1980’s (and into the 1990’s) would be Madonna, who today is the indisputable ‘Queen of Pop’:

madonna

Cuban emigrant Gloria Estefan became the 1980’s biggest Latin crossover artist, sparking a global interest in Spanish dance rhythms & beats:

gloria-estefan

Country singer/songwriter Reba McEntire became the genre’s biggest female star, and eventually crossed over into Hollywood television:

reba-mcentire

Pop music always rules the charts & drives the industry. Janet Jackson, Whitney Houston and Mariah Carey became the next generation of divas that followed in the wake of Madonna:

janet-jackson

mariah

Female bassists in alternative rock included Kim Gordon (Sonic Youth, pictured below), Kim Deal (Pixies), and D’arcy Wretzky (Smashing Pumpkins):

kim-gordon_sonic-youth

The Carpenters had a pop sound all their own in the 1970’s, up until Karen’s death due to anorexia in 1983, and (believe it or not) she is still cited by alternative artists as an influence:

karencarpenter

Iceland’s Bjork debuted in 1988 with the Sugarcubes, and has since become a pioneer in electronica:

sugarcubes-1988

More conventional female singer-songwriters of this era included Suzanne Vega, 10,000 Maniacs, and the Indigo Girls.  Among this genre is Tracy Chapman, a shy but gifted storyteller who never fit into the industry mold– talkin’ about a revolution:

tracy-chapman-1988

With hip-hop exploding in the late 1980’s, Queen Latifah became the first female rapper to gain notoriety, and since has become a global icon:

queen-latifah-1989

Sinead O’Connor became a superstar when she released I Do Not Want What I Haven’t Got (1989), which is a gorgeous album of beauty, love & pain:

sinead-oconnor

Perhaps the most enduring female artist of the alternative/underground era is PJ Harvey, a bona-fide, multi-dimensional punk diva:

polly-jean

Liz Phair’s Exile in Guyville (1993) is one of the most stunning & sublime debut albums [a double!] ever released:

exile-in-guyville-1993

Belly’s Star (1993) had already been reviewed on this site: [1]

belly-1993

Babes in Toyland from Minneapolis were the hardest-rocking feminine trio ever, a total ‘no compromise– no brakes’ act:

babes-in-toyland

Bikini Kill was the quintessential riot grrrl band, led by songwriter/vocalist Kathleen Hannah, and anchored by guitarist Billy Karen:

Where Women Are Today in Music:

The point of this exercise is to illustrate that women have always had a powerful voice in popular music.  Feminists who scream that a woman’s perspective is still being suppressed, simply don’t acknowledge any of this musical history and therefore render themselves foolish in this discussion.

With that said, there are serious challenges facing women with a musical message today.  Since the liquidation of grunge in the mid-1990’s, it’s been a constant corporate & political assault on musical freedom, leading to the homogenization & commodification of popular music:

lauren-hill-1998

sheryl-crow

What began as Sheryl Crow and Lauren Hill (both above), became Brittany Spears– as banality became institutionalized:

brittany-spears

Soon after came American Idol & Hanna Montana, as the role for women in music became increasingly being channelled into cookie-cutter pop divas:

american-idol

beyonce4

taylor-swift

lady-gaga-2015

The industry model of making an album, followed by marketing & promoting it for 2-3 years is now dead in the age of the Internet & social media.  Kids today move to new artists and fresher musical trends in the time it takes a superstar act to make their next record.  A good example of this is Adele, who conquered the world with 21, but has stiffed with her recent follow-up 25.  By the time 29 (?) comes out, her fans will have grown up and moved on:

adele25

What Adele (and others like her) need to do is re-evaluate their performing schedule, and make time to get back to writing songs, but the industry they work for won’t allow them that luxury. Why this isn’t possible, no one ever explains, because everyone is so focused on making money. The best new artists (male & female) will come from outside of this milieu, and smash this ossified bureaucracy with independent music & a new delivery model.

amy_winehouse

And music fans can’t wait.

HONORABLE MENTION
Sarah Vaughan
Linda Ronstadt
Carole King
Fleetwood Mac
Dionne Warwick
Loretta Lynn
Tammy Wynette
Emmylou Harris
Bonnie Raitt
The Roches
Heart
Gillian Gilbert (New Order)
kd Lang
The Vaselines
The Primitives,
Cowboy Junkies
Hole
Kate Bush
Alanis Morrisette
Sarah McLachlan
ETC…

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