The Laptop Sessions Cover Songs & Original Music Video Blog

For Kevin Renick chords & lyrics, CLICK HERE!

By Chris Moore:

Hello and welcome to another week of new material from the best acoustic cover song music video blog in the universe!  We’re glad you’ve chosen to stop by and we hope you’ll read the posts, watch our music videos, and leave us some comments and requests.

Let me begin my post tonight by explaining the new background.  Although I think I will eventually establish the living room as my backdrop — better lighting, better acoustics — I wanted Laptop Sessions regulars to see that my “wall 0′ CD’s” has been rebuilt in the condo.  I just recorded this video, so there wasn’t any natural light to speak of.  Thus, the image is a bit yellowed.  Additionally, I spent the weekend working on installing surge protectors, organizing my bookshelf, maximizing space in the closet, etc., so there aren’t any posters.  The walls look pretty plain, but I promise there will be a more complete backdrop soon.  I have a cool Beatles poster that came free if you bought two or more Beatles remasters at Newbury Comics, and I’ve been itching to put that up.  And, of course, there are the Bob Dylan posters that have been with me since I lived with my parents, so it will be nice to get those up soon, as well.

Until then, let’s just focus on the music…

I’ve wanted to record this song since I heard it in the closing credits of Up in the Air a month ago.  I had planned to record it right away, but Spoon’s new album, an Elvis Costello phase, and the aborted Locksley new release all intervened.  I had considered milking the Who publicity for a session and I was looking for a fitting Jimi Hendrix song for today, but I just couldn’t put this one off any longer.

If you haven’t heard of Kevin Renick, well, that’s kind of the point.  Apparently, he wrote “Up in the Air” a couple years before he heard that director Jason Reitman was working on a film adaptation of the book.  The version you hear in the film is the original recording Renick handed to Reitman after he heard Reitman speak.  The cassette recording begins, “Hi, Jason.  My name is Kevin Renick, and I’ve written a song called ‘Up in the Air.’ I wanted you to hear it.  It goes like this…”

What follows is a home recording that is simple and wonderfully suited for the film.  Of course, it was literally no work to translate this into a Laptop Session as, for all intents and purposes, it already is.  When I read more about Renick tonight, I became even more excited about posting this session.  He is not signed to a record label.  He has never released an album before.  Being unemployed himself, he sings his song with conviction, and it was relaxing to learn, play, and record.

The lyrics, like the song, are deceptively simple.  There are some great lines here — “When people ask me what I’m doing with my life, I say, ‘It’s up in the air’” and “I’m hearing from friends; it’s that tired, old advice again: ‘You just cannot keep floating all around; oh, you got to get your feet back on the ground.’”

I can’t understate how well this song encapsulated the feel of the film and of the other excellent music chosen for the soundtrack.  The Up in the Air soundtrack includes one of my favorite Elliott Smith songs, “Angel in the Snow” (from the New Moon posthumous release), a couple of cool Graham Nash songs (one with Crosby and Stills, one solo demo), and Dan Auerbach’s “Goin’ Home” (from Keep It Hid, my pick for the #10 best rock album of 2009).

So, that’s the story behind “Up in the Air.”  Once I’ve finished posting this session, I’m off to grade some senior papers before dinner, and then I have two things I’m looking very much forward to.  The first is watching — and yes, your nerd-o-meters are about to go crazy — Star Trek: Voyager with Nicole.  I haven’t watched Voyager for YEARS, not since I watched from the sixth season or so on with my mother.  Every week, we’d meet and watch that show until it went off the air.  And I loved it!  But I never thought to go back, so that’s been my recent television indulgence.

In music-related “news,” the second activity I’m looking forward to tonight is finally being able to relax and read the booklet to the posthumous Jimi Hendrix collection First Rays of the New Rising Sun.  I unfortunately had to return a Christmas present, and although I put it off for weeks, I finally exchanged it last Friday for this Hendrix CD.  I’ve been mildly interested in it for a few years, but I wasn’t sure what it would be like.  I’m generally of the opinion that the overall consistency and quality of Hendrix’s albums started at near-perfection with Are You Experienced? (1967) and declined from there, particularly on Electric Ladyland (1968).  That’s not to say that he didn’t make some tremendous, outstanding music after his debut album — “Wait Until Tomorrow,” “Castles Made of Sand,” “Bold as Love,” “Crosstown Traffic,” and his cover of “All Along the Watchtower” — but the second and third albums themselves just weren’t as tight or compelling as the first.

Let me tell you: it’s a SHAME that Hendrix never finished First Rays of the New Rising Sun.  Even as a 17 track collection compiled “under the direct supervision of the Hendrix family,” this disc is easily the best, most dynamic work he released after Are You Experienced? Given the time, Hendrix may very well have topped even that.  Anyone who owns the greatest hits collection Experience Hendrix already knows the rocking “Freedom,” the jaw-droppingly beautiful “Angel,” and “Dolly Dagger.”  If you like those tracks, you should check this out as well, especially for great work like “Night Bird Flying,” “Hey Baby (New Rising Sun),” and “In From the Storm.”  Great stuff indeed.

Well, that about does it for me this week.  Of course, you should hurry back every day of this week for fun new material — you can bank on another full Laptop Session, a three-part “Yes, No, Maybe So, Retro” series, a Guest Session of a great Buddy Holly song, and an all-new Weekend Review.  Don’t miss any of these great music-related posts — you’re only going to find them here…

See you next session!

This is a Weekend Review SPECIAL REPORT!

By Chris Moore:

SET LIST BELOW!!

I can’t believe it’s already been a year since the Bruce Springsteen and the E-Street Band Halftime Show, an event that inspired such a high degree of anticipation that people were literally placing bets on which songs would be played. There was a certain degree of mystery around what Springsteen would choose to play, and he gave very few clues as to what the set list would look like. Except, of course, that it would be an action-packed twelve minutes.

Well, we are rapidly approaching the Who’s twelve minutes of fame and they are much less concerned with such anticipation.

As Pete Townshend said earlier this week, “We’re doing kind of a compact medley, like a mash-up of stuff,” he says. “A bit of ‘Baba O’Riley,’ a bit of ‘Pinball Wizard,’ a bit of the close of ‘Tommy,’ a bit of ‘Who Are You’ and a bit of ‘Won’t Get Fooled Again.’ It works — it’s quite a saga. A lot of the stuff that we do has that kind of celebratory vibe about it — we’ve always tried to make music that allows the audience to go a bit wild if they want to. Hopefully it will hit the spot.”

And so, with no new album — either recent or upcoming — to promote, a medley it is!

The Who go acoustic three days before Super Bowl XLIV.

There are certainly going to be those who poo-poo at The Who taking the stage before what is annually the largest crowd assembled for one television program. And yet, their age and the percentage of surviving members (50%) notwithstanding, we’re talking about the Who.

In the hierarchy of rock’n'roll, there aren’t too many who get billing above this band. The Beatles, to be certain. The Rolling Stones. Dylan.

Quite impressive company.

As Ray Waddell of the Macon Daly wrote in what is certainly the most interesting of the pre-Super Bowl articles, “The power and continued relevance of Townshend’s writing are obvious, but few could argue that Daltrey’s supercharged vocals don’t play a key role in the longevity of the songs.“

The Who Super Bowl T-Shirt!

Even for an avid music fan like myself, the Who have passed beneath my radar save for their greatest hits (I have two of those, actually) and Tommy. The more I’ve been reading about them and listening to them this week, the more I’ve realized what a shame that is. The Who have repeatedly received that label that Dylan oh-so-despises — voice of a generation. They pioneered, albeit not initially on purpose, the so-called “instrument destruction” aspect of some emotional rock concerts. This band was among the first rock bands to incorporate synthesized sounds into their records, which were increasingly more conceptual throughout their career.

The list goes on.

And although by most standards they dropped off the map in the early to mid-eighties, here are Pete Townshend and Roger Daltrey to take the stage in front of the largest single audience a band could hope for. Very fitting indeed, as this is, of course, the band that set the record for the largest indoor concert in 1975…

There’s not as much for me to predict, bet, or suggest as there was last year, but I can tell you that, while I am interested in tonight’s excellent match-up between the Colts and the Saints, I am very excited for the Who. Say what you will about their last album Endless Wire — and the critics panned it — but that album had its moments of strength. I can’t imagine that tonight will be anything less than one of those strong high points of their recent career.

I’m off to the Super Bowl party with my girlfriend, so that’s it for now. Stay tuned for the set list, or medley order, or whatever it ends up being… I’ll be updating it here, at LaptopSessions.com, minute by minute.

THE WHO’s HALFTIME SET LIST

1 ) “Pinball Wizard”

2 ) “Baba O’Riley”

3 ) “Who Are You”

4 ) “See Me, Feel Me”

5 ) “Won’t Get Fooled Again”

REVIEW:

While the Who didn’t quite match the immediacy and the downright sweaty performance by Bruce Springsteen and the E-Street Band last year, their set evoked a calm and a confidence that, although predictable, was nice to see. After all, this was a mere twelve minutes of playing hits that they’ve been touring with for decades.

In other words, there was nothing unpredictable about the Halftime Show.
I would have settled for just one guitar being smashed.

Or at least a microphone…

The staging was perhaps the most impressive aspect of the set, as the Who opted out of the by-now-typical mass of fans that crowd the field for the mini concert. Instead, their stage was expansive and incorporated a variety of light patterns – spelling out “The Who,” lyrics to songs, and more. With Townshend’s well-known hearing issues, I was surprised, but happy, to see the fireworks display.

And did you see those classic blue, white, and red cymbols on the transparent drum set?

Overall, this was a very entertaining show. Again, it was nothing phenomenal and there will undoubtedly be those who will disparage these sixty-something rockers, but there was never a dull moment. Most songs were — the theme of the night– predictable (Townshend told us, after all, and, come on, how could they avoid playing “Who Are You” on CBS??) but I didn’t see “See Me, Feel Me” coming.

The onside kick that followed the concert overshadowed the set, but it was fun to see the Who and I, for one, hope the Super Bowl continues to call on these classic acts!

By Federico Borluzzi:

Unplugged cover of Bob Dylan’s “Every Grain Of Sand” (from the Shot Of Love album – 1981), with acoustic guitar and harmonica.  I changed the two harmonica solos to fit my harmonica skills (I have a lot to learn before I can play exactly what Dylan plays) and the possibilities of my G tuned harmonica.

** EDITOR’S NOTE: **

In his first contribution to the Laptop Sessions acoustic cover song music video blog, Federico has chosen a beautiful little number.  I wonder if he was aware of my love for Bob Dylan when he decided to submit this video…

He certainly couldn’t have been aware of how much I love this underrated gem of an album, Shot of Love.  Often considered the third in his “born-again Christian trilogy” of studio albums, Shot of Love is actually more of a transition album.  Critics tore this release apart, often with the exception of “Every Grain of Sand.”  And, truly, Federico couldn’t have chosen a better song to translate into an acoustic cover.  Although his harmonica is not spot-on, it is clearly because of the key the harmonica is in.  He has a knack for matching the fingerpicking pattern as well as the harmonica tabs — any Dylan fan will be able to hear how close his solo is to the original, all except for the key, that is.

And, again, I’m thrilled at his choice of album.  Shot of Love may have been panned by fans and critics alike, but there are some excellent tracks.  Consider “Heart of Mine,” percussion by none other than Ringo Starr.  Then, there’s the striking “Lenny Bruce.”  “Property of Jesus” may be dismissed as just another “Christian song,” but it’s a catchy and effective one.  And, although it wasn’t included on pressings until four years later, “The Groom’s Still Waiting at the Altar” is a phenomenal Dylan track.

So, listen to Federico’s first session, and get out there and listen to Shot of Love if you’ve been missing out all these years!

This is the first in a five part series dedicated to the top five rock artists of the decade, 2000-2009.  The criteria used to determine this list were: (1) Quality of Music, (2) Quantity of Released Material, (3) Diversity of Media, and (4) Roles of Artists/Band Members.  Look for new posts coming soon!

By Chris Moore:

The fifth entry on this list, Green Day is a strong candidate for top band of the decade, if only for their impressive return to the forefront of popular punk/rock music over the past ten years.  Even in their heyday, Green Day did not acheive the recognition that they have in the past six years. 

Who could have predicted that a trio of ostensible knuckleheads like Billie Joe Armstrong, Mike Dirnt, and Tre Cool would be headlining the concept album revival in the mid-2000’s, complete with a rock opera/musical adaptation set to the tunes of American Idiot?

[Is that the sound of crickets?]

PAST SUCCESS

Without argument, Green Day was one of the most successful bands of the nineties rock revival, carving out their reputation by way of the punk rock genre.  It was a bit of an exaggeration to have titled their best-of disc International Superhits!, but their music did appear on many different charts in many different nations over their first decade as a band. 

And, for better or for worse, if you turned on a radio in the nineties and listened long enough, you couldn’t avoid hearing songs like “When I Come Around” or especially “Good Riddance (Time of Your Life).”  The latter was the song that ER character Jeanie Boulet chose to sing at the funeral of a friend. 

When one of the most popular dramas of the decade chooses your song at the peak of their own popularity, that’s saying something…

WARNING AND A LOW POINT

Which brings us to THIS decade.  I would be hard-pressed to find another group from the nineties in their genre that have had such staying power as Green Day.  Bad Religion?  Not so much.  Chumbawamba?  A one hit wonder.  The Offspring and Rancid?  Well, they’re still around, but they certainly haven’t acheived the mainstream success that Green Day has. 

That is, if you discount Warning, their first studio album of the decade.

Any way you look at it, Warning is a low point in their career, failing to ascend the charts, make sales, and receive positive reviews in the characteristic manner that their previous albums had.  Two years after Warning, things weren’t looking any better with them supposedly “co-headlining” a concert tour with Blink 182, but actually opening each night. 

This all amounted to a great deal of evidence that Green Day had peaked and this was their descent into obscurity.

A SETBACK BECOMES A COMEBACK

As they returned to the studio to work on their next album, Cigarettes & Valentines, things weren’t looking any brighter.  Near the end of their sessions (according to Armstrong), the master tapes were stolen.  There weren’t even rough mixes remaining.

So, what does this band decide to do in a moment of crisis?

Start from scratch.

That’s right: Green Day decided to start from scratch.  Although a song or two from the aforementioned doomed album would make its way into live sets, the band started over, taking this as an opportunity to approach their new album from a different angle.  So, they broke out their guitars and began writing, working together in new and better ways than they had before. 

The result?  Only their most critically acclaimed, highest-selling album to date, American Idiot.

AMERICAN IDIOT & 21ST CENTURY BREAKDOWN: A CONCEPT ALBUM REVIVAL

Green Day’s mentality following the loss of their master tapes brings to mind Conan O’Brien’s final lines from his closing statement last month on The Tonight Show: “Nobody in life gets exactly what they thought they were going to get. But if you work really hard and you’re kind, amazing things will happen.”

You think?

I’ll just come out and say it: I’ve never been a big fan of American Idiot.  I think I’ve missed something in the translation of the lyrics, and I’ve been told that the at-times-boneheaded lyrics that I am turned off by are, in fact, purposefully constructed in order to make a statement about the average American.  Perhaps.  What makes me believe this is true, and what makes me nod my head in American Idiot’s direction even if it won’t appear on my iPod any time soon, is that the album is so carefully constructed.  One flip through the CD booklet will reveal an overarching concept, artwork, and other notes that were cleverly compiled and arranged to create a whole that is stronger than the parts.  I won’t go comparing it to the first seven records of the Moody Blues — the industry standard for excellent concept albums — but I will say I have great respect for the band’s intentions.

Their follow-up album?  21st Century Breakdown is an even more expansive concept album that tackles the question: What will we do when our national slogan can no longer be “Change We Can Believe In,” and must instead be (hopefully) ”Change That Has Already Taken Place and A Society That We Are Happy With”?  This is an interesting question indeed, particularly for those of my generation who defined their coming of age by being in opposition to all that George W. Bush’s presidency represented.  As we “graduate” into a different, potentially better society in 2012, what will we do to avoid the pitfalls of the previous presidency and its perspectives? 

A mere year into Barack Obama’s term in office, we have already begun tackling the question: How long is too long to wait for that change we believed in?  Some are patient, some are less so, but 21st Century Breakdown makes an interesting statement on these essential questions, particularly on an emotional/intuitive level.

SIDE PROJECTS AND ADAPTATIONS

Amidst all this standard studio album work, Green Day has also been able to thrive in a number of different ventures outside of traditional band output.  They have released a Billboard Top Ten live album, a platinum-status greatest hits compilation, a B-sides/rarities collection that broke the Billboard Top Thirty, and worked their way into the retro market by preparing a Green Day vinyl box set.

Outside of the band, Armstrong, Dirnt, and Cool have formed such side projects as The Network and the Foxboro Hot Tubs, both successful to different degrees and certainly indicative of a band hungry to record, produce, and play new music in a prolific manner. 

Then there is the rock opera/musical based on the story told through American Idiot, certainly a unique addition to any band’s list of tributes.

And so, at decade’s end, Green Day has reasserted themselves in what can only be described as an impressive manner.  It took me until 21st Century Breakdown to really appreciate their work, and I can only hope that the coming decade will be every bit as successful in terms of not only popularity but also quality!

By Chris Moore:

Thanks for getting your daily dose of acoustic guitar music at http://LaptopSessions.com today! It only seemed appropriate to start off the work week with a song titled “I Shall Be Released”… This is a cover song originally written by Bob Dylan. Although he never officially released his version on an album, it’s available on the Biograph boxset and on The Essential Bob Dylan. Probably the most polished version is on the Band’s superb 1968 album Music from Big Pink.

I haven’t recorded a Dylan song in a while, so I figured I could sneak yet another one into my list of Laptop Sessions. It was really fun to do and I would have kept my first take if I wasn’t such a perfectionist…

Don’t forget to come back tomorrow for an all-new cover song and free music video from our very own Jeff Copperthite…

See you next session!