“Hang On To Yourself” (David Bowie Cover)

Originally posted 2009-03-09 23:28:50. Republished by Blog Post Promoter

For David Bowie chords and lyrics, CLICK HERE!

By Chris Moore:

Hello and welcome to a brand-new week and a brand-new set of sessions here at the best acoustic cover song music video blog in the universe!  Monday is my day, and as usual, I dug through the new release news to see what I could find to play.  I found a couple of options, but this one stood out to me the most…

David Bowie’s “Hang On To Yourself” was originally released on the 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars.  Now, that’s an album title if I’ve ever heard one!  It doesn’t make a whole lot of sense to me, as I know admittedly little about David Bowie.  But from a quick online search, I learned some interesting facts.  For instance, D.A. Pennebaker (better known for his documentary on Bob Dylan Don’t Look Back) recorded a concert film and titled it the same as the aforementioned album.  Also, “Hang On To Yourself” was apparently originally released (as “Hang Onto Yourself”) by David Bowie’s band called “Arnold Corns.”  He got the idea for the band name from the Pink Floyd song “Arnold Layne.”

So, amidst all this David Bowie trivia, you may be wondering what any of this has to do with new music Tuesday…

Well, it appears that David Bowie is releasing an official version of a live concert titled Santa Monica ’72.  For years, this was only available as a bootleg.  Then, in the mid-90’s, a former management company released it without Bowie’s authorization.  So, this has become one of those records that circulates through the underground, perpetually spreading from one fan to the next.  As of tomorrow, the official release will be on the shelves.

“Hang On To Yourself” is the first song on this live Santa Monica ’72 album, and I can see why!  It’s a peppy, rocking number with rapid-fire lyrics and a very brief running time.  What better way to kick off a concert?  While I haven’t heard the live version from 1972, I can only imagine what it would sound like…

That’s pretty much it for me tonight.  I had a very enjoyable weekend on all fronts…

…which means that I have lots of work to catch up on this week!  I’ll be working on entering grades by Wednesday morning, speaking to a group of sophomores at a CCSU “college to career” seminar Wednesday evening, and starting to work on my BEST portfolio after about a week and a half on hold for other stuff.  I know, I lead an exciting life!  :-)

I hope you enjoy my video, and I hope to continue to post new “extras” in the near future — I already have inspiration for new “Deep Racks Reports,” music reviews (check out my one-sentence reviews posted yesterday!), and other articles.  I also have to get cracking on some site work I signed up for a couple weeks ago and haven’t gotten to (sorry webmaster!).

Don’t forget to hurry back tomorrow for an all-new Jim Fusco Tuesday.  It’s certain to be “we-should-name-a-day-of-the-week-for-it” good…

See you next session!

Wilco’s “Yankee Hotel Foxtrot” (2002) – The Weekend Review

Originally posted 2009-12-27 23:57:53. Republished by Blog Post Promoter

** This is the fourth in a five part series of music reviews, counting down from the #5 to the #1 albums of the decade, 2000-2009. On January 2nd, 2010, the #1 album will be revealed, along with the complete Weekend Review picks for the Top Thirty Albums of the Decade. **

By Chris Moore:

RATING: 5/5 stars

There are those albums that are easily inserted into categories, labeled by genre.  Then, there are those albums which do not, those veritable square pegs hovering above round holes.

Yankee Hotel Foxtrot belongs to the latter.

Being that this is one of the most written-about albums of the decade, there have been just as many genre classifications as there have been reviewers.  Regardless of the fact that much of Wilco was formed from ex-Uncle Tupelo members, it is certainly not alt-country, although the trademark rough edges are present in all the right places.  It is not the country-tinged folk rock of Wilco’s debut release, A.M., although Tweedy’s leads sometimes attain that same wonderful raw quality that was so prominent on their first album.  It is not the acoustic rock of Being There, though the acoustic guitars are still quite prominent in the mixes.

Indeed, Summerteeth, their third album, can now be viewed as the proving grounds and a stepping stone to Yankee Hotel Foxtrot — in a sense, as the Today! to their Pet Sounds, the Highway 61 Revisited to their Blonde on Blonde.

It is the clarity of overall vision and focus, as well as the variety of sounds and styles on this record that makes Yankee Hotel Foxtrot one of the best rock albums of the decade.  In many ways, Wilco’s previous recordings were all leading up to this masterpiece, an album that yielded a slew of alternate takes, arrangements, outtakes, and additional mixes.  They poured all they knew about songwriting, performing, and recording into this album, and that is what is most apparent in the tight, finely crafted tunes, every bit as much as it is evident across the sprawling, chaotic landscapes of songs like the opening track.

It has become somewhat difficult to separate the music of Yankee Hotel Foxtrot from the controversy that surrounded it at the time of its release.  Certainly, when they set out to record their fourth studio album, they couldn’t have predicted the poor reception of the record label that would lead to them being dropped from their contract.  They couldn’t have envisioned breaking ground on the now-standard practice of streaming their album in full before its official release.  They couldn’t have known that the story around the album would sell so many copies and overnight transform their band’s image from a fairly obscure alt-country band to the folk/alternative rock trendsetters that they are known as today.  And yet, all the same, these things came to pass, filmed every step of the way by Sam Jones for the documentary I Am Trying to Break Your Heart: A Film About Wilco.

Moreso than ever, this is an album that now needs to be taken, at least initially, on its own merits.  Nine years after it was recorded and eight years after the controversy and hype have subsided, we are left with the task of locating Yankee Hotel Foxtrot among the greatest albums of the decade, and perhaps of all-time.

Thankfully, it has stood the test of time.

Wilco's "Yankee Hotel Foxtrot" (2002)

The Weekend Review's pick for the #2 album of the decade, 2000-2009, is Wilco's 2002 release, "Yankee Hotel Foxtrot."

Listening to this album is an entertaining, sobering, and all-around interesting experience from the fade in on track one to the fade out on track eleven.  “I Am Trying to Break Your Heart” is, of course, the flagship song of the record, establishing both the tone and the mood for the other ten tracks to come.  On the one hand, it is a song with such a simple chord progression and melody that it could be — and has been — easily translated to a solo acoustic performance.  Still, something is lost without, on the other hand, the reluctant bass lines, synthesized sounds, and haphazard yet steady drums.  The sum total of the instruments and vocals introduces a narrator who sounds decidedly detached, inviting us into a realm where we imagine and remember our saddest moments, the conflicts that have defined our romantic lives.

After the final burst of distortion, the second song, “Kamera,” wastes no time in laying out a much more polished folk-rock sound, describing uncertainty as to “which lies I have been hiding, and which echoes belong.”  Tweedy continues, “I’ve counted out days to see how far I’ve driven in the dark with echoes in my heart.”  It is a pretty song; it is a catchy song.  My only reservation here is lyrically — for instance, why spell the title with a “K” rather than a “C”?  As Robert Christgau seemed to point out in his own review of the album, any major concerns about the album’s quality will most likely be focused around the lyrical quality.  While I think he is, as per usual, deaf to the quality of this excellent album, I will admit that I vacillate as to the meaningfulness of some of the lyrics.

Overall, the album speaks to me, and yet, some of the songs may be found shaky on an individual inspection.

But this should be for you to decide as you listen.

“Radio Cure” is next, bringing the pace down to a crawl, expounding on the effects of distance on love.  It is followed by “War on War,” a protest song of sorts that seems to attack simple-mindedness with simplicity.  If nothing else, Tweedy cries the universal truth that, “You have to learn how to die if you wanna be alive…”  One can suppose that this is not necessarily meant as a commentary on physical violence, but moreso in the context of the romantic relationship in shambles that is described throughout the album.

In “Jesus Etc.” and “Ashes of American Flags,” the lyrics rely on allusions to Christianity and the American dream, respectively.  In the former, the singer attempts to reassure a Christ-like lover who is set on leaving, “last cigarettes” being all she can get before she sets about “turning your orbit around.”  The mournful quality of the latter is unsurpassed, particularly as Tweedy repeats the chorus: “All my lies are only wishes; I know I would die if I could come back new.”  Again, there is the Christian — or perhaps Buddhist — metaphor of a death leading to a rebirth.  We can assume that this relationship being referred to is dying or already dead, and the question, of course, remains: what will be reborn in its place?  The song ends with the singer “saluting” the ashes of American flags, “and all the fallen leaves filling up shopping bags.”

Anyone who has gone through a breakup after a meaningful relationship has undoubtedly undergone this phase of the healing process.

The seventh and eighth tracks sidestep a bit, the first — “Heavy Metal Drummer” — taking a nostalgic and upbeat flashback to memories of past summers filled with rock concerts and parties and the second — “I’m the Man Who Loves You” — coming across as a manic return to the present, the singer declaring, “If I could, you know I would just hold your hand and you’d understand: I’m the man who loves you!”

Subsequently, we learn that the singer’s declaration of love has not had the desired effect.  Indeed, “Pot Kettle Black” is an important transition point on the record as Tweedy sings of coming to terms with the realities of the relationship that exists between these two people.  Its abstract lyrics are no attempt to dodge specificity; rather, this is a great case study for how the mind perceives the breakdown of something so dear.

The final two tracks provide another excellent couplet in this eleven line album.  “Poor Places” establishes itself as an anthem for isolation, with the singer ultimately decreeing, “It’s hot in the poor places tonight; I’m not going outside.”  This is not an entirely unexpected turn of events.  After all, the album has covered a lot of melancholy ground, including what can arguably be construed as failed attempts at jump-starting a broken relationship.

When the final track arrives, it is somewhat of an enigma.  “Reservations” is one of the simplest, saddest, and most sincere love songs in the Wilco catalog.  The refrain, “I’ve got reservations about so many things, but not about you,” can be interpreted in several different ways — as a final attempt at reconciliation, as a statement after having reunited with the person (although there is less evidence for this), or perhaps most directly as parting words.  Judging from the ominous silence that follows, complete with sounds that can only be compared to a violent wind, the final interpretation seems the most likely.

From beginning to end, Yankee Hotel Foxtrot is one of those rare albums that connects on both mental and emotional levels, calling on the listener to think in order to deconstruct meaning from the songs and utilizing all the right sounds to convey all the right feelings.  This was the album that singlehandedly led me into a breakup, nursed me through the depression that followed, and brought me back to the love of my life. (“What was I thinking when I let go of you?…”)

As the disclaimers read in those lovely commercials about diet pills, my results may not be typical, but my life is better for having experienced this album.  I hope — and have faith — that this album will have even half the effect on you that it did on me.

“Wichita Lineman” (Glen Campbell Cover)

Originally posted 2009-02-09 23:58:33. Republished by Blog Post Promoter

By Chris Moore:

For Glen Campbell Chords/Lyrics, click here!

Hello and welcome to my first cover song music video for the blog in just about two weeks!  Those of you who are acquainted with my work here on the Laptop Sessions blog will appreciate just how long a break from recording that is.  After all, I spent the entirety of 2008 — along with Jim and Jeff — recording a session every three days.  So, when you look at it this way, two weeks off is an eternity!

That being said, I’m back tonight with a song from a new artist to the blog — Glen Campbell.  Campbell is a name you’ve probably heard before, as he’s been working in the realm of popular music ever since the 1960s.  I first remember him from the story of the Beach Boys, as he filled in for Brian Wilson as a touring bassist in 1964 and 1965.  Having come from a family of twelve, a group with three brothers must have been a piece of cake for him to handle!

What I had forgotten about Glen Campbell is that he was a member of the famous Wrecking Crew, along with other studio musicians like Hal Blaine and Carol Kaye.  He has played guitar on such popular recordings as the Beach Boys’ Pet Sounds, the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling,” and the Monkees’ “I’m A Believer.”  He also played on tracks by other artists such as Elvis Presley, Bobby Darin, Ricky Nelson, Merle Haggard, Frank Sinatra, Dean Martin, Jan & Dean, the Mamas and the Papas, and many more.

What a resume!

So, why did I decide to record a Glen Campbell song out of the blue?  Why have I encroached upon the usual Jim Fusco territory of the 1960s?  The answer is simple — Glen Campbell is releasing a new compilation tomorrow entitled Glen Campbell: Greatest Hits , and I thought it appropriate to pay tribute to him.  I especially like “Wichita Lineman,” perhaps because it sounds like a cross between the Beach Boys and the Moody Blues.  I say this because it’s got that great, bassy surf guitar-ish sound on the solo, and it has very obvious Justin Hayward inflections, particularly in the vocals and the Moody Blues-esque flute sounds.  So, having decided on “Wichita Lineman,” I got in front of my laptop, searched the Glen Campbell official website for a clip, went to YouTube to watch Glen Campbell playing it, and set about transcribing and practicing.  I’m glad that I’ve decided to post chords (tabs / how to play) for all my songs this year, as I looked around for chords online and didn’t find any sites with correct chords and lyrics.  So, if you’re interested in playing the song, refer to the information you find here – it’s hot off the presses!

Well, that’s it for me tonight.  I’d love to write more, but after my double posting yesterday, I’m pretty worn out!  Seriously though, I hope you’ve checked out my posts about the Grammy Awards and the TNA Pay-Per-View.  If you haven’t, I think that at least the Grammys post is worth a read for any fan of rock music.

Without further ado, here’s my latest cover song music video.  Hurry back tomorrow for an all-new Jim Fusco Tuesday Laptop Session…

See you next session!

“Chris’ Mix (Vol. 2): Music I Discovered in 2009” – Playlists on Parade

Originally posted 2010-04-03 13:23:59. Republished by Blog Post Promoter

By Chris Moore:

In April 2009, I decided to put together a playlist for a friend, one which would represent my favorite music that I had discovered since I began paying close attention to new music, as well as expanding my range of interests.  This had all started in the middle of my first year of teaching; now that I made a regular salary, I realized I could budget out enough money for regular music purchases.  So, it all started in January 2008 with Ringo Starr’s Liverpool 8.  I would have bought that album anyway, but I went on to buy albums that I never would have paid much attention to in the past.  Some, like R.E.M.’s Accelerate, are albums that I consider to be among the best of all time.

I’m glad I didn’t miss them!

Now, of course, there were many mediocre (and worse) albums along the way, but in the end, this decision has been fruitful.  I look forward with excitement to each “New Music Tuesday,” waiting to receive the Newbury Comics newsletter in my inbox.  Many weeks, there is music that piques my interest, and I set off on the journey to pick it up and listen.

I will feature this first playlist of 2008 music on next week’s edition of “Playlists on Parade,” but I felt the strong urge to start with my latest playlist.  This is a collection of songs that I discovered in 2009, either because they were released that year, were recommended to me, or I stumbled upon them.  I hope you enjoy the brief liner notes and consider picking some of these up!

1)  “Got Some” – Pearl Jam

This is the song I thought should have been the lead-off track on their 2009 album Backspacer.  I first heard it performed live on the first-ever Late Night with Conan O’Brien show, and I was head-over-heels for it from the first snare shots.  The studio version didn’t disappoint, and thus, it’s the lead-off track for this playlist.

2)  “Wilco (the song)” – Wilco

I’ll admit it:  I laughed when I first heard this song performed live on the Colbert Report, but I simply fell in love with the album version.  The band is clearly so comfortable with themselves that this very direct, very cheesy statement comes across as consoling and encouraging.  I needed it last year, and I continue to sing along every time.

3)  “Help Me, Suzanne” – Rhett Miller

I vividly remember hearing this song for the first time on Mike Fusco’s iPhone.  He was playing this because it was a song he had to share.  He had heard it on the Hollister store soundtrack, and I was surprised by just how good it was.  How could such excellent music slip by unnoticed?  Well, Mike noticed it, and I picked up the album shortly after.  There are a couple other great songs, but although the album is enjoyable, there’s no song that competes with this gem.

4)  “Singing Joy to the World” – The Fruit Bats

This is one of the most stripped down performances on the Fruit Bats’ brilliant 2009 album The Ruminant Band.  You just don’t hear too many ballads like this one, and I’m hooked on the lyrics and melody every time I listen.

5)  “Part of It” – Relient K

Why this song wasn’t released as a single from 2009’s Forget and Not Slow Down, I’ll never know.  It is easily one of the best performances on the album, and it is one of my favorite Relient K songs of all time.  My favorite line?  Gotta be: “I’m the Cusack on the lawn of your heart.”  Now THAT is a metaphor for the ages!

6)  “Jonathon Fisk” – Spoon

Mentioned in an email by former student Geoff Troup less than a month before the New Year, I set out to hear Spoon’s Kill the Moonlight before their scheduled 2010 release of Transference (which is fantastic, by the way).  I realized I did know “That’s the Way We Get By,” probably from watching The O.C. with my sister.  (Did I just admit that in an official post?  Wow.)  The album was a bit odd to me at first, but after a few listens, I couldn’t get enough of their unique style.  “Jonathon Fisk” is among the best, and I hold a special place in my heart for this track since I learned it for a recent Laptop Session.

7)  “The Mob Goes Wild” – Clutch

Clutch came highly recommended by my colleague Dan O’Brien, and although I liked Blast Tyrant very much (so much that it just missed charting on my favorite 50 albums of the decade list), “The Mob Goes Wild” immediately stood out from the rest.  It is one of those songs for which you feel compelled to learn the lyrics so you can competently sing along.  It also adds a nice, harder edge to this playlist that balances out the quieter tracks.

8)  “Cornerstone” – The Arctic Monkeys

Like “Singing Joy to the World,” I instantly fell in love with the story told in this song.  Not only did I listen with rapt attention that first listen, but I was fascinated by the instrumental and vocal blend.  “Cornerstone” is a wonderfully quirky, hauntingly skeevy, and addictively entertaining track, one that softened my distaste for the Arctic Monkeys,’ an opinion I had based on their early work.

9)  “Life of a Thousand Crimes” – Echo & the Bunnymen

If you believed the critics that write for the major music magazines, you would have ignored the 2009 release (The Fountain) that yielded this Echo & the Bunnymen gem.  McCulloch’s vocals are in gritty, perfect form for leading this upbeat romp.

10)  “Peacemaker” – Green Day

There were so many standout tracks on Green Day’s 2009 album 21st Century Breakdown that it was difficult to choose just one for this playlist.  Overall, though, “Peacemaker” is one of the most instrumentally and vocally interesting, not to mention one of the catchiest.  When I recorded my Laptop Session cover song version of this track, it certainly gave me a workout as I figured out how to fit in all the vocals and still breathe!

11)  “Cream and Bastards Rise” – Harvey Danger

Remember “Flagpole Sitta”?  Well, it seems that this is about the only Harvey Danger song that anyone remembers.  And it’s a shame because 2005’s Little by Little… is an outstanding disc, one that featured this catchy, killer performance of their lead single.  (And, sadly, they’re so right!)

12)  “Jocelyn” – Kevin Hearn & Thin Buckle

If you liked the hidden track on the Barenaked Ladies’ 2000 album Maroon, then Kevin Hearn and Thin Buckle are for you.  This, as you may have guessed, is Hearn’s side project, and their second album (2004’s Night Light) yielded this beautiful little song.  After the frenetic buildup of “Peacemaker” and “Cream and Bastards Rise,” I thought this was the perfect track to relax on before “Got Some” returns again for another go-round.