It’s a practice as old as music itself. The cover. Taking someone else’s song and making it your own. For better or for worse. It’s a hit and miss exercise…there are good cover songs, and there are not-so-good cover songs.

Here are 10 of each…I’ve posted the videos so you can see/hear for yourself. Because I care.

10 GOOD COVERS

I Will Always Love You – Whitney Houston – 1992
Originally written and performed by Dolly Parton,  1973
It’s Whitney…’nuff said.

Hard To Handle – The Black Crowes – 1989
Originally performed by Otis Redding, 1968
I LOVE Otis Redding…but Georgia’s own Black Crowes really put this song on the map. (it’s worth noting that Otis Redding is ALSO from Georgia, but I digress)

Walking On The Moon – Cas Haley – 2008
Originally performed by The Police, 1979
Cas Haley was the 2nd place finisher on the 2nd season of America’s Got Talent. This was his stage audition song. I’ve been a fan ever since.

Rocket Man – William Shatner (yes, THAT William Shatner) – 1978
Originally written and performed by Elton John, 1972
If you haven’t seen this before, it’s EPIC. William Shatner, the great orator, at his absolute finest.

La Bamba – Los Lobos – 1987
Originally performed by Ritchie Valenz, 1958
This is, of course, from the movie “La Bamba” about the life of Ritchie Valenz. I used to know EVERY word to it. Still do.

Come On Eileen – Save Ferris – 1997
Originally performed by Dexy’s Midnight Runners, 1982
Like most band geeks in the early/mid 90′s, I was enthralled by Ska music. This cover crystallized that. Love this band!

Ballroom Blitz – Crucial Taunt – 1992
Originally performed by Sweet, 1973
Okay, I know this isn’t a REAL band…but they REALLY rock. EXCELLENT!

UB40 – The Way You Do The Things You Do – 1989
Originally performed by The Temptations, 1964
Very few bands have ever made a career out of cover songs as their big singles. UB40 is one of those bands.

Mr. Sandman – Pomplamoose – 2009
Originally performed by The Chordettes, 1954
Pomplamoose is a great example of a do-it-yourself band that gained a following almost exclusively on YouTube. Check out their channel. Amazing covers from a very talented husband & wife team.

I Fought The Law – The Clash – 1979
Originally performed by The Bobby Fuller Four, 1965
The Clash helped propel punk rock in to somewhat of a mainstream without compromising their punk attitudes. Not even when they covered this 60′s classic.

…and now for some NOT so good covers…these are just awful.

You Shook Me All Night Long – Celine Dion – 2002
Originally performed by AC/DC, 1980
Yes, this actually happened. I just…ugh…

I’m A Believer – Smashmouth – 2001
Originally performed by The Monkees, 1966
As a die-hard, life-long fan of The Monkees, I find this completely unacceptable. Also, remember when Smashmouth was cool for 5 minutes in 1997? Me neither.

Beat It – Fall Out Boy – 2008
Originally performed by Michael Jackson, 1983
How could these punk rock wannabes do such a thing!? I hate these fake-angst bands as it is…this just seals the deal.

Do Ya Think I’m Sexy – Paris Hilton – 2006
Originally performed by Rod Stewart, 1978
This isn’t exactly my favorite song of all time, but it IS Rod Stewart…and everybody’s favorite waste of space, Paris Hilton, was kind enough to include it on her 2006 debut album. Thanks, Paris!
(not the actual video because there isn’t one for it…the audio will speak for itself, though)

I Melt With You – Bowling For Soup – 2005
Originally performed by Modern English, 1982
Modern English’s original is probably the most beautiful compositions to ever come out of the 1980′s. It should be left alone. And not touched by a whiny pop/rock band.

Saturday Night’s Alright – Nickelback (ft. Kid Rock) – 2003
Originally performed by Elton John, 1973
Did that pickel ever get more fans than Nickelback?
(not an actual video, just audio)

Tainted Love – Pussycat Dolls – 2005
Originally performed by Gloria Jones, 1965 (but made super-famous by Soft Cell, 1981)
This one has been covered almost 30 times since it was first released. The Pussycat Dolls version is EASILY the worst one. See for yourself.

Funkytown – Pseudo Echo – 1986
Originally performed by Lipps, Inc., 1980
Pseudo Echo never really amounted to much. Because they made this awful cover. The video is just silly. Check out the quintessential 80′s landmarks in this video. It’s chock full of them!

American Pie – Madonna – 2000
Originally performed by Don McLean, 1971
WHY, MADONNA!? WHYYYY?!?!

Faith – Limp Bizkit – 1998
Originally performed by George Michael, 1987
If I were to make a list of the worst bands of all time (which I might do, actually), Limp Bizkit could easily contend for a spot in the top 10. As such, this cover of George Michael’s “Faith” could quite possibly be the worst song of all time. The worst song of all time from the worst band of all time. Period.

So, that’s it! 10 good covers, 10 not-so-good covers. As with most of my lists, these selections are just a sample of ones that could fit the category. I’m pretty confident in these selections, though.

–a.

The album making process is something I know virtually nothing about. Yet, I’ve always wondered about the process. How does an artist/band decide which songs go on their current project? Beyond that, how do they decide the ORDER of those songs? I can’t imagine it’s an easy process. As a music lover, I DO know that the first track of an album is vital in setting the tone for the material that follows.

Equally as important is the strength of the second song on the album. Because, when you think about it, an artist probably puts together an album like they would a mix tape. Start off strong, then take it up a notch…then maybe cool it down. At least that’s how I would do it.

Here are 10 really great songs that were selected by the artist to land in the second position on their album. Some of them are legendary, some are one-hit-wonders, some are just legends in my iTunes…either way, they’re all great…and they’re all TRACK TWO.

(Artist – Song – Album)

Harry Connick, Jr. – Come By Me – Come By Me

Maroon 5 – This Love – Songs About Jane

U2 – I Still Haven’t Found What I’m Looking For – The Joshua Tree

Harvey Danger – Flagpole Sittuh – Where Have All The Merrymakers Gone?

Michael Jackson – Rock With You – Off The Wall

The Beatles – Eleanor Rigby – Revolver

Cornershop – Brimful of Asha – When I Was Born For The 7th Time

Outkast – So Fresh So Clean – Stankonia

Barenaked Ladies – It’s All Been Done – Stunt

The Buggles – Video Killed The Radio Star – The Age of Plastic

–a.

What is it about a song that makes it suck? The tune? The lyrics? The singer’s voice? The incessant auto-tuning? Whatever YOUR reasons are for not liking a song, they’re YOUR reasons. Guess what? There’s nothing wrong with that. Nothing at all.

These are 5 of MY least favorite songs…songs that make my blood boil, my skin crawl, and my blood pressure go out of whack. I’m sorry if you like any of these songs…sorry that you like crappy songs.

(in no particular order…because they all suck equally)

Mambo # 5 – Lou Bega

(originally posted at http://theaaronelyareview.tumblr.com on September 22nd, 2011)

After 31 years and 15 studio albums, R.E.M. has decided to call it a day…and what a great day it was. The announcement came on Wednesday, September 21st 2011 and was a shock to most of their fans. But to many of us who have followed this band through the years, the shock wasn’t so bitter. Before I get into that, a little history.

I can’t recall for sure, but I think it was around 1991 when I first really started to become aware of R.E.M. That year was especially important because it was when really started to explore music and began to develop my true “taste”. Most of what I found were bands, artists and genres that I still enjoy today. R.E.M. was one of those bands. I don’t remember who exactly introduced me to them (probably a local Detroit radio station) but I remember liking it because it was different…like most of the other music I was discovering.

Up until then, the music I attached myself to was mostly influenced by my sisters (who were teenagers in the 80′s). The Police, U2, The Smiths and The Cure most notably. I also had a small obsession with The Monkees thanks to their resurgence in 1987 on Nickelodeon for their 20th anniversary. That was actually my first concert! So, even with all the music around me, hardly any of it was mine. Mine in that I found it myself with little or no outside influence. It was the influence that I was missing, though.

As I moved in to my teen years, I developed friendships with some awesome people who had all different kinds of tastes in music. I had friends who liked metal, underground/college, punk, ska, classical, hip-hop, top 40, techno, industrial, even Christian. I auditioned all of it but eventually found myself gravitating towards college radio music (later identified as “alternative”). Bands like Nirvana, Pearl Jam and Soundgarden found their way on to my mix tapes. R.E.M. was also included in that.

R.E.M. came out of the college music scene in Athens, Georgia right around the time I celebrated my 2nd birthday (78-79). They played small shows at places in Athens like the legendary 40 Watt Theatre (named so because of the single solitary 40 watt light bulb that once illuminated the hall) and eventually gained a medium sized underground following. They were reluctant leaders of this new Athens music scene. Other bands would follow, of course: B-52′s, Black Crowes, Widespread Panic (blech), and countless other bands that you’ve never of. In short, the University of Georgia put Athens on the map. R.E.M. made it a musical hotspot.

(The remains of an abandoned church in Athens, GA where R.E.M. used to live & practice…just a few feet away from where I lived from 1998-1999)

Like most people my age who followed R.E.M., the first R.E.M. album I ever owned was 1991′s “Out Of Time”. The lead single, “Losing My Religion” was (and still is, I think) their biggest and most successful single to date. 1988′s “Green”…the album just prior to “Out Of Time”. “Green” was their first major label album after leaving I.R.S. and had a VERY political tone to it. It also yielded a couple pretty widely heard singles such as “Pop Song 89″ and “Stand”, but nothing compared to the success that ”Losing My Religion” would bring.

Many hardcore fans would probably argue that “Out Of Time” was the point when R.E.M. had “sold out” or abandoned their college radio roots. That may or may not be true, but one thing is for sure: R.E.M. is one of a handful of bands and artists who can completely reinvent themselves with each new album. While many of their early albums are very similar in sound, it seems that “Green” is way different than “Document”…and “Out of Time” is way different than “Green”…and “Automatic For The People” (1992) is way different than “Out Of Time” and so on. R.E.M. didn’t have to reinvent themselves with every album nor did they have to stay the same. They took a “whatever happens happens” approach to their recording. Their expansive talents guided them in to all different kinds of directions. And it worked.

The one and only time I saw R.E.M. perform was the 2nd to last show of their “Monster” tour in spring of 1995 at the Omni in Atlanta. They had added this show because the LAST show had been sold out for weeks. I remember a lot about this show. I remember they had a HUGE disco ball that they would bring down from the ceiling for many of their songs. I remember Michael Stipe reading the words of the songs from sheets of paper propped on a music stand (he’s human, give him a break). I also remember Mike Mills wearing royal blue jump suit splattered with sequins. It was a great concert and I am SO glad I got to see them.

R.E.M. went through a pretty rough time in the late 90′s and early 2000′s. Between band members almost DYING and drummer Bill Berry leaving the band, calling it a “rough couple of years” is quite the understatement. None of the experiences they went through were able to halt them. They weren’t done yet. Albums called “New Adventures in Hi-Fi”, “Up” (which was the first album they released as a threesome), “Reveal”, “Around The Sun”, “Accelerate”, and their last studio album “Collapse Into Now” (2011) were to follow….and in typical R.E.M. style, each one was much different than the albums prior.

I did kind of drift away from them after “Reveal”. Not because I stopped liking them. It’s hard to explain. I think maybe it’s because I feel like I had gotten everything I needed from them…if that makes sense. All the material between 1991 and 2008 was enough for me. That’s the R.E.M. I knew and liked. Just as many of their original fans cling to “Murmur” and “Reckoning”.

Whatever the reason is, the end of R.E.M. doesn’t make me sad. It makes me proud to be a fan. I like to think that Michael Stipe, Mike Mills, and Peter Buck are happy to have anyone listening to their music…regardless of the era in which it was created. Whether you celebrate their music as an entire body of work or just a couple of their mid-career albums (like me), their music has spoken to a generation in way that no other band probably has or will.

R.E.M. will be missed by many but will always be appreciated for their contributions to the world of music…and the world.

(originally posted on http://theaaronelyareview.tumblr.com on May 10th, 2010)

I haven’t DJ’d as many weddings as many of my colleagues. However, I’ve done it enough to know that there are several different types of people that attend wedding receptions…and 6 types, in particular, that like to talk to the DJ. And by “talk to”, I mean “annoy”. Here they are in no particular order:  

1) “The Know-It-All”
This is someone who either is currently is or has been in the past a mobile DJ. It could also be someone who worked at a radio station in college or ran sound for a club at some point. He/she (rarely ever a “she”) will want to know what kind of equipment you’re using down to the last detail. Amps, volts, inputs, outputs, brand names, etc. The Know-It-All will explain how he/she didn’t have this kind of equipment back in the day, and yet, will not likely compliment you on how nice yours is.  They’ll then go on to explain what kind of equipment you SHOULD have and how it would be better for the types of events you’re doing. Meanwhile, you’re trying to ignore him and get the next song(s) ready. Go away, Mr. Know-It-All….I got this. He/she might also come out of # 5 on this list, “The Volume Cop”, but more on that later.  

2) “Drunk Uncle”
Ahh, the Drunk Uncle. The Drunk Uncle is one of the first repeating personalities I discovered at wedding receptions when I became a professional DJ. First of all, there is ALWAYS a Drunk Uncle…the DJ may or may not always come in contact with him, but  someone will. In some cases, the bride will inform you that there will be a drunk uncle at the reception. This is most often not the case…and the Drunk Uncle will reveal himself…unannounced. When it comes to the relationship between the DJ and The Drunk Uncle, the quest is simple: Drunk Uncle requests absolutely ridiculous, inappropriate, or non-wedding-reception-friendly songs. I always tell the story of a wedding I did a few years ago where the bride, most of her friends, and a good portion of her family were graduates/fans of the University Of Florida. I played Florida fight songs and chants throughout the night and everyone seemed to enjoy it. No big deal. Well, Drunk Uncle comes to me later in the reception and asks me (in his thick, country accent) to play “Rocky Top”…which is the fight song for the University of Tennessee….an SEC rival of Florida’s. He insists the bride will “love it”, so I tell him to go tell the bride to come tell me to play “Rocky Top”, and THEN I’ll play it. He shuffled off and I never saw him again. Another Drunk Uncle got a hold of my printed song library (which I don’t typically leave out). He found a song that he wanted to hear (“Fly Away” by Lenny Kravitz) and wouldn’t leave me alone until I played it. Finally, I played his song….and the dance floor turned in to a ghost town. Thanks, pal. The Drunk Uncle means well, but just doesn’t get it.  

3) “The Overzealous Bridesmaid”
The Overzealous Bridesmaid is usually created with a combination of great dance music and white wine. She is SO happy for her friend who just got married! The Drunk Bridesmaid is available in two varieties: married, and unmarried. The Married Drunk Bridesmaid is likely to relive her wedding day and have the fun she didn’t get to have on her wedding day. The unmarried Drunk Bridesmaid is living vicariously through her recently wedded girlfriend and is having the fun that the bride isn’t having (assuming the bride is still stressed out). The Drunk Bridesmaid LOVES to dance and she’s going to want to hear songs that make her get her groove on. Early on, she’ll make GREAT requests! Music that really gets the party going. You have to be careful, though….The Overzealous Bridesmaid is fully capable of becoming a monster…and if she does, you’ll be expected to FEED that monster. She’ll hear one song she likes, and then the DJ becomes her personal iPod/jukebox. Don’t let her get out of hand, and she’ll have a great time and won’t get on your nerves too much. Bottoms up, girlfriend! 

4) “Karaoke Hero”
I haven’t come across too many of these, but enough to make note. The Karaoke Star is someone who thinks that since they sing great at karaoke night at the bar, that people at their friend’s wedding will enjoy it just as much. Well, I’ve got news for ya…they won’t. People singing at receptions (with the exception of those who are pre-arranged with the bride) should NEVER be allowed. I cite two reasons for this: 1) The Karaoke Star might be a decent singer, but chances are good that they aren’t NEARLY as good as they think they are. 2) If the DJ allows one person to sing, others will want to sing as well…..and that’s a disaster waiting to happen. Don’t get me wrong, if it’s a family tradition for Aunt Betsy is known to sing “Moon River” at every family wedding, by all means, crank up the Andy Williams! BUT, if your college roommates want to get up and sing “LOVE SHACK” at the top of their lungs, that’s just not kosher. Bottom line, keep karaoke night at the bar and away from the wedding reception. Always. 

5) “The Volume Cop”
I’m always adjusting my volume and am being cognizant of the sound at a wedding reception. The Volume Cop, quite simply, will NEVER be satisfied with the volume of the microphone or music. Too loud, too quiet, whatever it is…it’s never “just right”. In better cases, the DJ can make a quick adjustment while the Volume Cop is right there at the table…and that usually works. However, in rare cases, the Volume Cop will continue to patronize the DJ table complaining of the volume. And in even MORE rare cases, the Volume Cop will complain about the volume of each SONG as it comes up! I’ve had that happen. Seriously. At some point, the Volume Cop needs to accept the fact that ALL of the other guests (including the ones who are paying the DJ) are happy with the volume…and if they don’t like it, relocate! 

6) “The Chronic Requester”
The Chronic Requester is someone who probably hasn’t been to many weddings, but has been to PLENTY of bars on DJ night. I always welcome requests at weddings, but as many DJ’s will tell you, not all great music is “great” for wedding receptions. The Chronic Requester does not understand (or accept) this concept. They will request the most ridiculous songs that have NO place being played at a wedding reception. Some of the recent requests I’ve received: The theme from Ghostbusters, Daniel by Elton John (a song about a kid who dies), Friends In Low Places (a song about an ex-boyfriend who crashes his ex-girlfriend’s wedding), Me So Horny (seriously), a 15-minute Phish song….the list goes on and on. The Chronic Requester could be ANYONE, so as a DJ, we have to keep alert at all times. I usually explain to the person that they’re requesting good songs, but maybe not “reception friendly” songs. The Chronic Requester is hell-bent on requesting a good song, so they’ll keep trying until they get one that works. Like the “Drunk Uncle” the Chronic Requester means well, but doesn’t quite get it. Such is life. Just don’t let the Chronic Requester get a hold of your music list. 

There are plenty of other types of reception guests that DJ’s come in contact with….the guy who thinks the DJ table is a coaster, the photographer who thinks the DJ table is a “staging/storage area”, the person who asks where the restrooms are, etc…but these were just a few that I felt needed to be acknowledged.

(originally posted on http://theaaronelyareview.tumblr.com on June 19th, 2010)

‘All In Good Time’ by Barenaked Ladies — the aaron elya review

‘All In Good Time’
Barenaked Ladies
Raisin’ Records
Released: March 30, 2010 (U.S.)
Produced by Phillip Wojewoda
Run Time: 50:09

‘All In Good Time’ is the 11th studio album released by Barenaked Ladies (if you count ‘Barenaked Ladies Are Men’ as its own album, and NOT as half of a double-album with ‘Barenaked Ladies Are Me’). It’s the first album released by the band after the departure of BNL co-founder Steven Page in February of 2009. It is not, however, the first time the band has done an album as a foursome. 1996′s ‘Born on a Pirate Ship’ (their third studio album) was recorded after the departure of original keyboardist Andy Creegan and before the addition of current keyboardist Kevin Hearn.

When I heard that Steve Page was leaving BNL, like most BNL fans, I was filled with all kinds of emotions: confusion, sadness, denial, curiosity, resentment, etc. I also knew that many BNL fans would feel the same things and would either jump ship or stay on board.

I stayed on board.

When word came that the “Pageless” BNL would soldier on as a foursome, I looked at it as yet another opportunity for BNL to reinvent itself. ‘All In Good Time’ was going to be the beginning of a new era. At least I hoped it would.

‘AIGT’ is our first opportunity to really see what Ed Robertson (remaining co-founder, majority writer, and primary lead-vocalist/guitarist) was made of. It’s clear that Robertson approached this album from a much deeper place…and yet, there is a greater feeling of liberation. And that feeling comes through right off the bat with track # 1.

The lead single (and opening track) from ‘AIGT’ entitled “You Run Away” is clearly inspired (at least partially) by Page’s departure from the band. To me, it’s VERY obvious that a song like this would have NEVER appeared on albums like ‘Gordon’ or ‘Stunt’. The song is a bold statement with a powerful crescendo and really tugs at the heart strings of its listeners. You can feel the emotion coming through Robertson’s vocals as you approach the summit of the song. I can only imagine the feeling in the studio amongst the foursome when it was played back for the first time. Haunting.

In previous efforts, BNL have proven that they are quite versatile both musically and lyrically. That proof has mostly come from Ed Robertson and Steven Page with only a handful of contributions from band members Jim Creegan & Kevin Hearn. ‘AIGT’ features quite a few more pieces from Creegan and Hearn (music and lyrics). This is a welcome change, in my opinion. These guys are immensely talented musicians and song writers and it’s high time they be given their opportunity to shine. “Watching The Northern Lights” and “I Saw It” are great examples of their work.

From a strictly musical standpoint, this is probably BNL’s most broad effort. The arrangements on tracks like “Summertime”, “On The Lookout” and the next single “Every Subway Car” reveal a hesitant and almost “light rock” feel.

Opposite of that, you have the song “Four Seconds” which helps remind us of how playful and energetic this group has always been. Generally speaking, though, playfulness does NOT seem to be the direction BNL wanted to go with this record…and that’s okay.

All in all, ‘All In Good Time’ doesn’t disappoint. It’s not really a great album for “BNL beginners”, though. That’s not to say they won’t enjoy it, per say. They just won’t enjoy it on quite the same level as those who’ve been following BNL since ‘Gordon’ and before (‘Yellow Tape’, anyone?). We simply have a greater appreciation for just how far they’ve come.

BNL will never make another ‘Gordon’…or another ‘Maroon’. But that’s part of what makes this band so resilient and capable of bringing on throes of new fans with every album. In the case of ‘All In Good Time’, to fully enjoy it is to fully understand the journey of Barenaked Ladies as a whole.

I’m glad I didn’t jump ship.

Here’s something I’ve often wondered.

There are a handful of bands that I’ve come across since my adolecence that experienced a great deal of commercial success with their first hit (or first couple of hits). Then, just like that, they’re gone. Why? It’s not the quality of the song…otherwise, it wouldn’t have been a “hit”.

Was it the name of the NAME of the band that turned people off? Quite possibly.

Here are a few examples (with links to their YouTube videos if you’re interested)

Dogs Die In Hot Cars

http://www.youtube.com/watch?v=AeywCfxYcas
These Scottish alt-punk rockers had a hard driving 2004 hit called “I Love You ‘Cause I Have To”. Such a great hook, melody, and story line…but how many animal lovers did they piss off? Plenty, I’m sure. They’re still around….supposedly.

Ass Ponys

http://www.youtube.com/watch?v=4VTBam8YzQg
If you don’t know the song “Little Bastard”, you probably didn’t listen to ANY rock radio in 1993. Four words: ALL FISH BELLY WHITE! This Cincinnati based neo country quartet took a break from their grassroots influences to create the album “Electric Rock Music”. “Little Bastard” was the one and only single that ever saw the light of day. It quickly became one of my all time favorites…and still is. But with a band name like “Ass Ponys”, I can’t help but wonder if they would have gone further with a different name. Don’t ask me what that name should have been…that’s for someone else to deicde.

eels

http://www.youtube.com/watch?v=V2yy141q8HQ
“Novocane For The Soul”…amazing song, excellent video, weird band name. It’s a shame, too. This west coast band has depth…and a weird band name. It’s not even “THE Eels”. It’s just “eels”…all lower case….because it wasn’t weird enough already. Anywhoo, I love this song and it will remain in many of my future playlists.

Alien Ant Farm

http://www.youtube.com/watch?v=LJ2t4jfVTiU
In 2001, we got our first glimpse of AAF when they covered Michael Jackson’s “Smooth Criminal”. Awesome. Everybody dug this….but as many music critics will tell you, if your first “hit” is a cover, you better come out swinging for your NEXT hit. AAF gave us “Movies”. The video was quirky and the hook got in to your head like an ear infection for a 5 month old (Sydney?). After that, the steam fizzled out. Sure, they’ve released more material since then and their fan base is smaller (and likely more defined and dedicated). Middle America seems to have forgotten about AAF, though. Did the name of the band act as an Alien death ray? Perhaps.

Butthole Surfers

http://www.youtube.com/watch?v=g4WUlNSx_Wk
When I was a DJ on 929 dave fm from 2005 to 2008, this was the ONLY band name I can honestly say I was uncomfortable saying on the air. It’s my suspicion that the program director(s) purposely scheduled this song during MY shift just to make me say it. A theory I have yet to prove. Let’s face it, it’s an awkward name that makes me squirm to this day. I didn’t even like typing it.

Cherry Poppin’ Daddies

http://www.youtube.com/watch?v=1IqH3uliwJY
During the swing revivial of the late ’90′s, Cherry Poppin’ Daddies burst on to the scene (with mouths foamed) with “Zoot Suit Riot”. These guys were tight, talented, and could SWING, baby. But along with the death of the aforementioned revival, the Daddies went by the wayside. It’s likely that they would have stuck around if the swing thing stayed, but this wasn’t the case. The other “daddy” group of the swing revival, “Big Bad VooDoo Daddy” also disappered from the scene. Did the revival kill the bands, or did the bands kill the revival? Ask Brian Setzer….and his orchestra.

Citizen King

http://www.youtube.com/watch?v=DKxXHEx-XnU
“…and the bottom drops out!” – Catchy, right? Of course! This diddy went to # 10 in 1999 and was a mainstay on top 40 and AAA radio. You’ll still find it in my iTunes, as well (which is quite an honor). This Milwaukee based soul/rock group disbanded in 2002, but their biggest hit lives on in our various mp3 players. It’s a calcuated risk choosing a band name that can be drawn with another reference. In this case, it’s closely related to, what some consider, the greatest movie ever made. A risk that didn’t pay off in the long run.

Mannheim Steamroller

http://www.youtube.com/watch?v=68j6Ceof8QQ
I’m not saying they’re a BAD ensemble, I’m just saying the name is weird. If they had a better name, maybe we’d hear from them more often than we do, that’s all. The same might be said for the Trans-Siberian Orchestra….but at least their name strikes a little bit of fear in to you…and that’s awesome.

SHeDAISY

http://www.youtube.com/watch?v=poACd-zYMSY
It’s no secret that country music is to me what kryptonite was to Superman. But I can recognize talent. SHeDAISY is made up of three very talented women (sisters) from the small town of West Valley, Utah. The attached song (“Don’t Worry ‘Bout A Thing”) reached # 7 on the Billboard Hot Country chart in 2004. The name is easy to SAY, but not easy to read…or type. Did this make country programmers shy away from the SHe? It’s possible. Catchy tune, though….for a country track.

Tony! Toni! Toné!

http://www.youtube.com/watch?v=Jfoxsfhi-kk
No one in the band was named Tony, Toni, or Toné. ‘Nuff said. Apparently it’s a reference to the movie The Untouchables. There’s another defunct trio with a quintet name that also caused some confusion.

These are just ten I thought of but I think I’ve expressed the spirit of the exercise.

What band names would YOU add to this list?

‘Contra’ – Vampire Weekend – the aaron elya review

When I started this blog, I had bigger intentions than to just take a picture every day (which is still cool). I wanted to review music! While my time is often taken up with “real life” stuff, I have managed to gather enough thoughts about one of my favorite new albums.

‘Contra’
Vampire Weekend
XL Recordings
Released: January 12th, 2010
Produced by Rostam Batmanglij
Run Time: 36:40 (depending on which version you have)

‘Contra’ is the sophomore release for New York based indie-rock-band-turned-mainstream-darlings, Vampire Weekend.

It’s easy to tell that the follow up to their 2008 self-titled debut had much more support from the powers that be. It’s a much more complex album. The words from lead singer/writer, Ezra Koenig, are just as complex as those on the first album, but the music itself carries much deeper arrangements. Evidence of this is heard in songs like ‘California English’ and ‘Run’.

‘White Sky’, ‘Horchata’, and ‘Giant’ are plucky and full of vibrance. In contrast, songs like ‘I Think Ur A Contra’, ‘Taxi Cab’, and ‘Diplomat’s Son’ display the bands ability to flex musically in both directions.

The lead single, ‘Cousins’, helped propel ‘Contra’ to # 1 on the US Billboard 100 in its debut and is ALL about energy. The arrangement features fast beating rhythm, quick vocals, and a expressive percussion section (often seen on their TV appearances – Letterman, Fallon, etc.). A very “radio friendly” contribution.

I have to believe that when the band asked “What should our first single be?” ‘Giving Up The Gun’ was a close 2nd choice behind ‘Cousins’. It’s got a wonderful, new rock feel to it, but still maintains it’s “indie roots” which is a rare commodity in mainstream rock.

Whether or not you think ‘Contra’ is better, worse, or the same as their first album, its certain that this release shows that we’ve only begun to scratch the surface of what this band is truly capable of.

–a.

(Originally posted on http://theaaronelyareview.tumblr.com on November 29th, 2009)

When it came time for me to decide what to do as my first review, I felt it was only appropriate that I reviewed the first CD I ever owned. That said, it was also a CD that would, essentially, help determine the course of my musical existence. While that last part might seem a little “dramatic”, it’s really quite true.

I give you…’We Are In Love’ by Harry Connick, Jr.: The Aaron Elya Review.

‘We Are In Love’
Harry Connick, Jr.
Sony/Columbia
Released: July 3rd, 1990
Produced by Harry Connick, Jr & Marc Shaiman
Run Time: 52:51

‘We Are In Love’ (WAIL) was released the same day as ‘Lofty’s Roach Souffle‘, a trio album recorded by Harry, Ben Wolfe, and Shannon Powell. Releasing multiple albums on the same day would become a familiar treat later in Harry’s recording career (11 & 25; 30 & Songs I Heard; Oh My Nola & Chanson du Vieux Carre were all released as pairs).

The first CD I ever had in my collection was actually the Soup Dragons 1992 release ‘Divine Thing‘. Someone at church had found it left in a classroom and since no one claimed it, it ended up going home with me. WAIL, however, was the first CD I ever PURCHASED, so I give it the full credit for being my “first CD”. Here it is in it’s original jewel case, original insert and album artwork.

I still love the “fish tie”! Oh, and the hair…MAN, did I want that hair-do!! The case, artwork, and disc itself have survived my teen years, a move from Michigan to Georgia, my 20′s, and countless reorganization attempts on my CD rack.

Okay, on to the review…

WAIL starts off with quite a bang! The title track is 2:44 of high energy, fast moving swing. Those three famous orchestra hits really set the tempo for the ENTIRE record. It’s also our first chance to experience Harry’s songwriting on this album.

Following the opening big-band number is ‘Only ‘Cause I Don’t Have You‘ which is a beautifully orchestrated, 3/4 time ballad. The mixing of melodic and harmonic tones creates a haunting and soothing musical experience (as the entire album does).

For many of Harry’s fans who jumped on the bandwagon with the release of this album, ‘Recipe For Love‘ is the song that really drew us in. It’s the song that, in an era of really crappy pop music (this is pre-Nirvana, remember), gave radio stations a breath of fresh air…something different to offer it’s listeners. Harry, himself, quipped in his ‘Singin’ & Swingin‘ video that ‘Recipe‘ isn’t the typical pop radio song. The innocence of the lyrics, the crisp arrangement of the big band, and the up-beat rhythm make for an early album treat. ‘Recipe‘ still, to this day, remains one of the centerpieces of not only WAIL, but of Harry’s entire discography…and is easily one of my top 10 favorite songs of all time (another blog for another day…trust me).

Other ballads will follow on WAIL such as ‘Drifting‘, ‘A Nightingale Sang In Berkely Square‘ (which would later be sampled on his 1994 funk project, ‘She‘), ‘Just A Boy‘, ‘I’ll Dream Of You Again‘ (which Harry sang a verse of on his 1992 ‘Cheers’ appearance), and ‘Buried In Blue‘. What I like about these ballads is not just the fact of how well performed they are, but the actual placement of them on the record. If you look at the track listing, they’re placed in even numbered track spots on the album. It’s REALLY the essence of the construction of the album…the tempo of WAIL is dictated by this track placement. It’s a feature of WAIL that I’ve always liked. If I ever get to meet and talk to Harry, this would be a question I’d like to ask him. I’ve met him three times after concerts, but as you can imagine, I was a just bumbling idiot-fan with a sharpie.

‘Forever For Now‘ starts off with a creepy guitar and trombone duet. Adding to that is the trademark sizzling jazz high-hat and walking bass. Track 5 takes you on a seemingly dark yet hopeful jazz journey. This is the song that, as a young 12 year old trombone player, I tried to most emulate. Especially the upper-range trombone + plunger solo at the end. Absolute genius.

One of the more unique tracks on WAIL (and in Harry’s entire catalog) is ‘Heavenly‘. A strictly “voice only” piece featuring several layers of harmonized voices…which, by the way, are ALL Harry’s. It’s a romantic, peppy, finger-snapping, story of the “Man In The Moon” being in love with the “Girl in the world”…and she reciprocates! It’s a throw back to the era of doo-wop but with a moden flare that only Harry can deliver. On the last note, Harry belts out a note WAY up in his register…the icing on the cake!

The last “fast” song on the album is Harry’s version of the Cole Porter classic ‘It’s Alright With Me‘. As impressive as this song is on this album (featuring solos from guitarist Russell Malone, Ben Wolfe, Shannon Powell, and Harry himself), those of us who were fortunate enough to see Harry in concert in the early to mid 90′s know just how amazing this song was to see in person! The core arrangement has always been the same, but the placement of the song in any given set made it a great closer, a great opener, and a great “encore song” (depending on which concert you saw). This was also one of the songs he performed on his 1990 SNL appearance.

In the time it’s taken me to write all of this, I’ve listened to WAIL almost three times in it’s entirety. I don’t listen to this album often enough, quite honestly. It’s a masterpiece from start to finish. In many ways, WAIL was kind of the “measuring stick” to which all future Harry albums would be compared. Harry, however, had BIGGER plans. Bigger bands, bigger sounds, bigger vocals, and bigger success awaited him. This album really put Harry Connick, Jr. on the map…and we had yet to unfold it. The best was yet to come.

-a.