The Laptop Sessions Cover Songs & Original Music Video Blog

By Jim Fusco:

The 2010-2011 season of the Laptop Sessions with Jim Fusco has now begun!  Back here again after taking the summer off and that’s the way it looks like the schedule will go: September to June.  That way, I can take time off while my wife is off from work.  I’m excited to bring you a whole new crop of Laptop Sessions acoustic cover song music videos- once every two weeks!  In between, I’ll be posting articles, reviews, and more.  There’s a lot going on in this noggin’ of mine, so let me update you on a couple of things I’m up to:

• I had a nice summer, taking a cruise to Bermuda and doing many activities (mostly that my wife wanted to accomplish during her time off)
• BIG changes are coming to my suite of websites, including the simplification of everything.  This starts with the removal of fusco-moore.com and the FMP Music Store.  They’re just not necessary anymore.  I’ll keep the MoU site online just for old time’s sake (and, it looks cool), but everything else will be taken down (except for WCJM, of course).  I’m conceptualizing a new JimFusco.com and we’ve been doing some photo shoots to give me some new content.
• I also have a new Twitter account for my music: jimfuscomusic.  Easy enough, huh?  Please follow me so you can get up to the minute updates on all of my musical ventures!
• I’m working on a new vocals-only project, but this is more for my own usage.  I always put so much work into my vocals that I wanted to showcase them on a special collector’s album.  More to follow.
• Finally, and most importantly, I’m working on new songs!  I have nine so far and will probably go to 15 so I can, for the first time, record everything and pick out only the best.  I think this will be important to make the best album I can.  But, I’m not giving up on “Halfway There” just yet, so I’ll be promoting that in the meantime.  We’re still probably a year out before I release anything new.

So, that’s what’s happening.  Now, onto tonight’s video!

I’m back with “Sweet Talkin’ Woman” by Electric Light Orchestra.  This is a great classic rock tune that I’ve known for as long as I can remember.  The song, written and sung by Jeff Lynne, is one of my favorite ELO (or E.L.O., whichever the search engines prefer) songs.

I knew the song started on the “C” chord- you can just hear it in the original recording.  What I didn’t know, however, was that this song is really easy to play.  I mean, when you hear an Electric Light Orchestra song, there’s so much going on that the songs sound like they’re really complicated.  But, even after taking three months off, this still only took me one take to get right!  No, I’m not perfect- I did practice quite a bit off-camera.

I think I got the song down really well and made it my own.  Again, this is definitely a pared-down version from the original, stripping-away the multiple instruments and backing vocals.  The backing vocals presented a bit of a challenge, so I had to pick what I believed to be the “lead” backing vocal note and sing that where necessary.

I hope you don’t notice that I’m getting over a cold.  I’ve been practicing guitar like mad lately, but I’ve been giving my voice a rest after a really bad cold.  You know how the cough lingers with you for weeks afterward?  Well, it’s only been a few days and I’m really holding back in the video.  I can’t even laugh without going into a coughing fit!

I hope you enjoy tonight’s video and that you’ll follow me on Twitter (@jimfuscomusic) so you’ll be the first to know when all my new acoustic cover song music videos and blog posts come out.  So, until next time, here’s “Sweet Talkin’ Woman”!

By Jim Fusco:

I suppose I should’ve done a song today to commemorate the 50th Anniversary of “The Day the Music Died”.  You know, maybe a Buddy Holly tune, or something from the Big Bopper or Ritchie Valens.  But, I decided to honor their memory in a different way…by completely forgetting to do a song by them until I just started writing this post…

Sorry Buddy, Bopper, and Ritchie.

Well, I am happy to bring you a new artist to the music video blog tonight, anyway.  And this person’s still alive (and apparently still putting on some great concerts)- Frankie Valli!  He and his group, the Four Seasons, had so may hits in the sixties (and even a couple big ones later on in the disco era) and I can’t believe it’s taken me this long to do one of their songs.

Apparently the Spinners had a big hit with “Working My Way Back To You” in the early eighties, but I’ve always known this original version from 1966 that went all the way to #9 on the Billboard Hot 100 singles chart.  It was a nice challenge to recreate the vocal abilities of Frankie Valli, as he’s always been known for his whiny falsetto.  I don’t necessarily have that kind of falsetto, but I think it gets the sentiment across.  In fact, if you read my post from last Tuesday, you’ll see my comments about how falsetto voices are very hard to reproduce.  That’s because everyone’s voice goes into falsetto at different notes up the scale.  So, you’ll notice in this video that I tend to only do a few notes in falsetto during that last chorus.

I was mentioning to Becky earlier that you can always tell when a song was done by a group that doesn’t write their own songs.  Rock music songwriters usually won’t go out of their way to add a key change for the last, repeating, chorus.  But, as with showtunes and more “vocalist” acts like the Temptations, the Four Tops, and Frankie Valli and the Four Seasons, they take songs from these “serial songwriters” that just write (and not perform) songs for a living.  So, they try to make these big productions out of their songs, which usually includes a key change.  Go back and listen to some of the more “lounge-singer” type acts from the sixties like Johnny Rivers- you’ll hear exactly what I mean.

It’s always fun to bring you another great acoustic cover song music video here on Jim Fusco Tuesdays on the Laptop Sessions music video blog.  Since I brought you the past two Original Wednesday posts, I’m going to take tomorrow off and hope that Chris and/or Jeff will step in.  We’re excited again today because the blog reached 304 views- our NEW best view count for a day!  Thank you to all of the new fans of the Laptop Sessions and especially to those that always come back to see my videos on Tuesday.

Have a great week and I’ll be back again for Jim Fusco Tuesday next week on the greatest (and now, most popular) music video blog ever created!

For Death Cab for Cutie chords & lyrics, CLICK HERE!

By Chris Moore:

Hello and welcome to the first all-new Laptop Session of 2010!  It is my pleasure to kick off another great year here for the best cover song music video blog on the Internet today.  This past year has indeed been a year of changes, of many comings and goings for most of us here, and now we’re setting out to make this the best year yet. 

There’s a lot to live up to, given the past two years  and more of contributions.

Still, I think we’re up to it.

What can you expect?  Well, for now, you can expect a Chris Moore Monday and a Jim Fusco Tuesday each week.  Although Thumpin’ Thursday is no longer regularly filled, you never know when Jeff will get the itch again…  As for Guest Sessions Friday, it is my sincere hope that recent regular Jeremy Hammond will continue to send me links.  In fact, he’s already sent me the link to his video for this Friday’s post, and I can tell you that it’s a song that I remember fondly.  I first heard it on one of my dad’s “hits of the seventies” cassette tapes.  (Remember those?  They were THE media before CDs…)  From what little I know of him through our email conversations, Jeremy seems like a really interesting guy with some great ideas for cover songs to record.  Finally, as for Saturday and Sunday, there will be one edition of “The Weekend Review” each week.  On top of all that, you have the “From the Music Blog Archives” feature to look forward to each and every time you visit the site; we’ve gotten to the point where there are so many posts available to draw from that many are ones that I read as though for the first time…

If you haven’t already, I hope you’ll check out my “50 Best Rock Albums of the Decade, 2000-2009″ list and liner notes, posted over the past several days.  Now, my next project is to finish off my “Best of 2009″ lists.

First, though, I need to take a breather!

Today was the first day back to school, and what a relaxing start it was, due mostly to the 90 minute delay we had.  I didn’t sleep in, but I did get a lot of grading done.  When I finish this post, I’ll be returning to that seemingly endless task until I’m off to a BK Lounge run with Mike and three hours of live TNA.  This feels in many ways like the biggest single show since my friends got me interested in professional wrestling a couple years ago, so I’m looking forward to it as a full three hours of relaxation before school gets back into full swing tomorrow.

Which brings me, at last, to the session of the night.  I’m bringing you my cover version of Death Cab for Cutie’s “The New Year,” which is the opening track to their strong Transatlanticism album.  I’ve already recorded one song from that release, “The Sound of Settling,” a while back, but I couldn’t think of any better song for the first post of the New Year, 2010. 

I hope you’ve had a relaxing and productive holiday, and that the promise of more Laptop Sessions and related posts gives you something to look forward to throughout 2010.

See you next session!

By Chris Moore:

Welcome to September, a truly promising month for new music from the likes of Steven Page, Ben Folds, and Weezer!

Today, I’m taking a break from our regularly scheduled Original Wednesday program of previews from The 2010 Project to bring you a song I just wrote last week.

Specifically, a song I wrote on Monday of last week.

You may be wondering, why Monday?  Well, August 23rd — aside from being my friend and sometimes-collaborator Alberto Distefano’s birthday — marked the fifth anniversary of my first date with my girlfriend Nicole.  Because we broke up for three months in late 2008, we’ve decided to officially celebrate our anniversary on the day we got back together for the first time, January 2nd.  (I’m personally a fan of this date for all its implications of the new year, fresh beginnings, resolutions to be made, and all the promise this invokes.  And, although it’s only a week after Christmas, the original date was only a week before her birthday, so proximity to other occasions is not a factor.)

Thus, August 23rd has become the anniversary that we’ve promised to honor, but without monetary expense in the name of gifts.

We never said anything about not spending time to make something like, say, a song!

I spent the better part of my morning last Monday writing, playing, and perfecting “The One For Me.”  It is one of the — if not the — best love songs I’ve written, in my opinion.  And, for those that don’t know, my opinion is that my love songs are generally sub-par.  The version which you will hear in the video below is the first full performance I committed to tape last week.  I’ve been playing it numerous times each day since and it has progressed considerably from the form it is in on this session.

Why post an out-of-date version?

For one, I like the idea of showing off a fresh song, without having practiced it or worked on it.  What is Original Wednesday, after all, if it is not a place to celebrate the writing process?  In addition, I’m trying to imagine a spot for this song on The 2010 Project, so it may show up there.  If it does, you will hopefully be able to tell how much it has progressed since this video.  (And, it will have turned out that today is indeed another installment of the preview series.)

So, without further ado, I give you “The One For Me.”  I hope you enjoy it, and I hope you’ll tune back in for more exciting new material here at the Laptop Sessions as we move into the fall season.

See you next session!

By Chris Moore:

The chart-topping success of Let It Be is truly a testament to both the heights of Beatlemania and also to the abilities of the four Beatles to consistently top themselves in their songwriting and musicianship.  Even by 1970, amid tensions that caused all four to at least threaten to quit the band, they managed to come together (no pun intended) to finish the principal tracks for a new album.

This was made easier, of course, by the fact that this new album was based primarily on material that had been written and recorded before their previous record, Abbey Road, was released.

The true complication in this process arose when Phil Spector was somehow given the “okay” to add his signature studio treatment to the tracks.  Perhaps with the disagreements between the Fab Four obscuring their collective vision, Spector was allowed to turn these songs — many of them little gems — into overblown, overproduced testaments to the capabilities of a mixing board.  Orchestras aside, the original concept of this album (at least, when it was begun in January 1969) was that there would be no overdubs of any kind.  How the leap was taken from “no overdubs” to “here’s Phil Spector” is a subject of some debate.  The result?  An album that made many fans and sources close to the band wonder what it would have been like without all the accessorizing.

Let It Be… Naked puts an end to that inquiry.

The cover of the 2003 remix of "Let It Be"

As the title implies, Naked is a stripped-down, bare bones version of Let It Be that highlights the instruments and original vocals of the four Beatles which, not surprisingly, is more than enough to excite and entertain.  Ringo once pointed out that, despite all their issues and arguments, when the count began and a song was performed live, they transformed back into those four boys from Liverpool who just loved to play music together.  For anyone who thought that may have been an overstatement, this new take on their final album is the proof of its veracity.

Throughout Let It Be… Naked, the Beatles’ harmonies are tight and their instrumentation is simple yet impressive.  The drums and bass are particularly fun to focus on, perhaps imagining Ringo and Paul falling perfectly into the rhythm and putting all their combined experience, personal talent, and emotion into what would be these final released tracks.  Of course, John and George are just as much fun to listen to.  George’s guitar work, for instance, clearly never needed to be and never should have been buried beneath layers of production and overdubs.

Even the track listing is rearranged on this 2003 remix of the album, tossing out “Dig It” and “Maggie Mae,” as well as adding “Don’t Let Me Down,” a track that had made the cut on the earlier Glyn Johns mix of the album, before the project was shelved.  This is hardly a revelation — I don’t imagine many will miss the two deleted tracks and the album is certainly much better for the inclusion of the latter.

In every conceivable way, Let It Be… Naked is a success and finally presents the album as originally intended, making it a must-listen for any Beatles fan as well as any fan of rock music who is interested in hearing the real story of the final album of this legendary band.

COMING LATER THIS WEEK:  a review of the new Let It Be 2009 remaster.  How does it compare?…