What Are You Listening To Right Now? #25

Some of Mclachlan's songs, can have a bit of a flavor of previous songs. For example, in McLachlan's song, "Adia," which I used to love, there is a part that would always make me think of a Ringo Starr song, written by Paul & Linda McCartney, named "Six O'clock." Or, the way that "Building A Mystery," especially in the original, electric version, bears some resemblances to Joan Osbourne's, "One Of Us."










Since I see this is starting a new page, I'll mention that you can also compare the acoustic version of Building A Mystery, in the last post of the previous page.

 

But the appeal of McLachlan's voice to me, seems oddly to have waned a bit, from what it, erstwhile, was. And, also strangely, I'm listening to some early 1960s/late 1950s stuff, I've mostly ignored, before now.
From 1963, Dion's cover of
COME GO WITH ME





The 1957 original, was by the Dell Vikings. Interesting note: they were a mixed race group which, I would think, must have been quite extraordinary, back then.





Though I'm not a fan of the group, I know that many are, and they do a good job on this one, so here is the Beach Boys' cover:

 

Now, back to an era I have been a fan of, since high school. And it will give me the chance to correct an error I just made, in the other song thread (titles, A-Z). This tune, I have long loved, for its late 1960s feel. But when I just posted, I Googled it (to be sure), which told me it was a 2003 song, so that is what I wrote. Thinking about it, though, I couldn't believe that I hadn't heard this song, much sooner than that, so deeper investigation showed it had, originally, been released in '69, and I guess the same artist, Thunderclap Newman, released a cover of his own tune (which sounds exactly the same) 34 years later.




Check out the Tom Petty & the Heartbreakers cover, which I didn't know they'd done; though it doesn't even sound like them, but like the original:




The Dixie Chicks cover:




And, lastly, a live recording of Tom Petty:




Great Song.

 

I just came across what I had thought, were some GOOD covers of "Black Magic Woman," which each, gave it their own spin.

But then, I discovered that the first, by the early Fleetwood Mac lineup (whose stuff I didn't think I really cared for) is actually the ORIGINAL version! In this one, thanks to Mick Fleetwood, on the drums, as well as to the writer, singer, & lead guitarist, Peter Green (and yet the group's name, had still been "Fleetwood Mac?"), the song has a funky, swifter, and more strongly propelling rhythm. The only thing I don't really care for, is the sudden shift, at the end. From 1968:






The other version, is by an artist I have posted a couple of times, always noting that I am, nevertheless, not a fan. Yet here, he grooves, with a lot of soul-- after all these years, am I finally starting to like Eric Clapton?

His version also does a sudden transition for its coda, which I would question, for that purpose; nevertheless, this basic blues style ending, is enjoyable enough, on its own.

 

Do you people clap on the 1 and the 2s or the 2s and the 4s?

 

happy birthday Roger

 

It's a good song, but I didn't think this was one of the better versions, so was going to post the Who's Next studio version, but even that one did not sound right. The same was true, of one of all-time favs, "Bargain." You know, for the convenience of sending music, wirelessly, so one doesn't need to have a physical tape or record, there is definitely something lost, in its digitalizing. Not all the information in the recording, is digitalized. We know this is true in MP3 players (if those are still a thing), and I suspect so, even with compact discs. Neil Young, I recall, had partnered with some new music technology company, a little ways back, to offer a better alternative. I don't think it ever caught on.

The importance of what is lost, for some music, may not be that considerable; but for other songs, it makes a world of difference. I'd also felt a little something missing, from Lennon's #9 Dream, I recently posted, for "N," in the other thread. I wonder if this varying degree of loss of "spirit," among different music, has anything to do with recent changes, in my still evolving, musical tastes.

 

the best version IMHO is the one which has Leslie West doing the lead-Pete is a great songwriter and better guitarist than many give him credit for but West is one of the real mountains of hard rock guitar. I just picked this one because it highlights RD's range.

 

A Little Kimmo Therapy



Earth Machine


.

 

Songs of Jimi Hendrix, you set a high bar.

 

Are you trying to tell me Black Magic Woman wasn't a Santana song first? How dare you say such a thing!

 

So you like ethnic flavor? Try some of this on, for size.


Tradition de la Santeria. I suggest headphones, to not miss the subtleties in the drums (but make sure they leave you room to move).





Noyé. This is a "pop" song, unlike the rest; but it is lovely, soft, & sensual.





Dadá. This song just lasts a minute, but that's enough-- if you give it a chance. Rhythmic, with a gliding pulse, and just enough turbulence. And only voices.





Ochun. Patience is rewarded, here; listen through the first minute, until the solo voice intro is joined with drums and a responding chorus.




Oshun and Yemoya (Yemaya). This one also gets to grooving, given a little time, for the rhythm to infect you.

 

Some good-ol', quality bluegrass.



Happy Saturday!

 

That is probably my song by The Who, but no salute to the birthday boy would be complete without including the song with the greatest yell in rock n' roll history:

 

I would argue that the best sort of scream is this one though your citation has much merit

 

Old Beatles tune with subtitles for the hearing impaired in Portugal.

 

My first introduction to Santa was "Smooth."

 

Great song! Probably even my favorite Beatles' song by John (who is my favorite Beatle, musically speaking), from my favorite Beatles' album, Let it Be. But that's their last album, so it isn't "old," for a Beatles song; only so far as, all of their songs being fairly old-- but who here, doesn't know that?

You know what? I just remembered that CristianSoldier (that's how he spells it) told me that he'd never heard any Beatles music. How does that happen? Even if you're a relative babe, in the PF woods?


Anyway, from that same rooftop performance, another song that is in contention for that top spot:

 

Go ye, and listen of it. I dare you.

 

I really ought to have included the studio version of this song, along with the rooftop, live one. This one has all the energy of a live performance, but without the flaws.

 

Wow-- to someone whose familiarity with Deep Purple had been limited to "Smoke On the Water" and "Highway Star," that is a revelation. Good song, and a stellar live performance. It only lost me a bit, during the central "jam," but then grabbed me back up, with the reprise. And I have to say, that scream is a tough one to beat.

 

In Cincinnati, even the most progressive (for the early70) FM station in the midwest was pretty much limited to playing those two songs along with Hush and sometimes. My woman from Tokyo but my late cousin, the son of Yale medical school professors-caught lots of shows in Hartford, New Haven and NYC and was a big DP fan. Sadly, his mother told my mom how loud DP was when they played Hartford and the soon to follow Cincinnati show was a "not over my dead body" event from my parents. But at least I got some of their records. My first experience was tangential-the priest at the Episcopal church my family attended was a huge fan of "Jesus Christ Superstar" which had Ian Gillan in the lead role-he's the lead of the second lineup of DP (Rod Evans the first-the guy who made HUSH popular)

 

Yeah, I know those two songs, as well-- they just didn't come immediately to mind. Though I hadn't really known who did "Hush." Sometimes, just a little of that song, comes into my mind. Funny, just yesterday, I was singing a little "Smoke On the Water," and asking myself why. I find it way too redundant, and of a theme that isn't very compelling to begin with. But in small enough snippets, it can have a cool vibe.

 

Under the "scream" category:

One has to wait to the very end of the song, and there isn't enough of it, but this yelling, by Stevie Nicks, to close out "Silver Springs," has always impressed me, with its passion.

I'll follow you down, till the sound
of my voice will haunt you--
oh, give me just a chance!--
You will never get away from the sound
of the woman that loved you--
was I just a Fool?--
I'll follow you down, till the sound
of my voice will haunt--
give me just a Chance!





There's no screaming in this live version, but it's a really good one, anyway