Wednesday Week - The Undertones

Wednesday Week - The Undertones

2:19

Hypnotised, 1980

Written by J. J. O'Neill

This isn't the Elvis Costello cover I thought it might be.  It's a slice of '60s Britpop filtered through a New Wave lens, kind of jangly in both the guitar and the vocals.  Apparently it's an outlier for the band, who are normally more at home with a harder pop-rock sound.  In the song, the narrator bemoans a love connection that turned out to be a flash in the pan.  "There she goes, I won't see her again / She's gone to school with her best friend."

W-P-L-J - The Four Deuces

W-P-L-J - The Four Deuces

2:39

single, 1956

Written by Ray Dobard and Luther McDaniels

A rhythm and blues, doo-wop vocal about a drink.  The letters stand for "White port lemon juice," as they explicitly spell out in the song, like an advertisement (which it later became, for wine producer Italian Swiss Colony).  It's a fun novelty song, but I can see why they faded away.  It's irritatingly catchy (I found myself singing the title through the day), but it doesn't have any real punch (ha! a drink pun).  

Una Festa Sui Prati - Adriano Celentano

Una Festa Sui Prati - Adriano Celentano

3:22

single, 1973

Written by Adriano Celentano, Luciano Beretta, Michele Del Prete, and Mogol

Celantano sings this one with a somewhat deep, raspy growl, very little like the Dylanesque nasal voice he uses on "Prisencolinensinainciusol."  This song is an ode to good friends, good food, a beautiful day, and a warning to carpe diem, my boys.  "Domani questo può finire, vorrei sapere / Perché domani ci dobbiamo odiare."  ("Tomorrow this can end, I would like to know / Why tomorrow we have to hate each other.")  With an uptempo beat and some throaty "ba bum bum bums," this is a rouser.

The One You Slip Around With - Jan Howard

The One You Slip Around With - Jan Howard

2:17

single, 1959

written by Harlan Howard and Fuzzy Owen

I've never heard of Howard, but she had some hits in the honky-tonk Bakersfield style in the 1960s, and later became an author.  Is "slip" in the title a minced oath for "sleep"?  I bet it is.  The narrator bemoans the fact that her husband, whom she adores, is sleeping with a side piece, but she sticks with him: "Deep down inside I know that I should leave you / How many tears must fall before I learn / I think of many ways that I could grieve you / And yet I'm always here when you return."  Even though, as the song says, she would rather be the lover than the lonely wife.  Not exactly a blow for feminism, but I guess it hadn't been invented yet.

Without a Song - Frank Sinatra

Without a Song - Frank Sinatra

3:38

I Remember Tommy, 1961

Written by Vincent Youmans, Billy Rose and Edward Eliscu, 1929

Sinatra sinks his teeth into this one and gives a terrific performance, neither his histrionic maudlin sad-ballad voice nor his impossibly brash "My Way" vocal, but a relatively toned-down but flawless, smooth, solid delivery.  I dig the fake ending halfway through the song, only for the band to kick back in, horns blaring.  Tricked you!  They were doing it before the "hidden track" craze on CDs in the 1990s.

Walking By Myself - Jimmy Rogers

Walking By Myself - Jimmy Rogers

2:47

single, 1956

Written by Jimmy Rogers (as James A. Lane)

The blues guitarist and harmonica player, once of Muddy Waters' band, had this song as an R&B hit, though it's a pretty straightforward Chicago blues.  Rogers has a smooth vocal here, equal parts soul and blues.  The narrator professes he loves the girl with all his heart: "Love you, yes I love you / With all my heart and soul / Wouldn't mistreat you for my weight in gold."  Well then why is he walking by himself?  I guess she left him despite his love, but it's not explicitly stated.

Ain't Got Love - Iron Skillet

Ain't Got Love - Iron Skillet

2:40

Carbonized Music For Frozen Amplifiers, 2016

Written by Iron Skillet?

Why didn't this band ever go places?  Terrific pop-rock that doesn't take itself too seriously, with throwback "ooh la la la" background vocals.  Veteran Tom Waits sideman Ralph Carney provides some wailing sax.   The lead vocals mug for the camera, playing with range and weight for effect.  This could have been a radio hit, if the music industry wasn't so artificial and controlled.

The Little White Cloud That Cried - Johnnie Ray

The Little White Cloud That Cried - Johnnie Ray

2:13

single, 1951

Written by Johnnie Ray

Ray, considered by some as an important figure in the development of rock 'n' roll, here turns in a belting, overwrought pop vocal with emotion dripping from every syllable.  This is not early rockabilly or blues, but the straight pop vocal stylings of the time.  Ray was born partially deaf, which may explain his unique, wavering vocal style.  In this song, the narrator meets a lonesome, sad cloud, who, after complaining that no one cares if it lives or dies, then abruptly does a 180 in attitude and assures him that "Do your best and always remember / The dark clouds pass with time."  Clouds, man.  What are they really thinking?

Pink Cadillac - Paul Bascomb

Pink Cadillac - Paul Bascomb

2:23

single, 1950

Written by Paul Bascomb

A slick swing-blues number à la Louis Jordan, with hot sax licks in between real cool half-spoken lyrics: "I might look funny but I got plenty loot / I got enough to make an elephant a swagger suit."  And "Keep cool / You fool / I know the Golden Rule / I got this money / From a gal named Honey." The man wants a car, and insists it must be pink!  For those who like the Cherry Poppin' Daddies, this here is the original.  (Note, online there are several sources that say this was released in 1960, but I think it's more likely 1950.)

Gotta Find a Job - Lee Dorsey

Gotta Find a Job - Lee Dorsey

2:26

single, 1967

Written by Allen Toussaint

Fun fact: Lee Dorsey tried his hand as a featherweight boxer, fighting under the name Kid Chocolate.  In this song, originally a B-side, the narrator bemoans his dearth of pecuniary opportunities ("the roof is leaking and the rent ain't paid"), and needs to find gainful employment.  It could serve as an answer song to the Silhouette's "Get a Job" recorded a decade earlier, but there aren't, to my ears, any definite callbacks.  Dorsey sings the lyrics in a whiny, sad-sack voice that fits the material.

Jocasta - Noah and the Whale

Jocasta - Noah and the Whale

2:49

Peaceful, the World Lays Me Down, 2008

Written by Charlie Fink

Fey indie-pop, heavy on the twee and the harmonies.  But as light as the music is, the lyrics are heavy.  The song touches on themes on sin and redemption — Jocasta as Oedipus' mother must be the source of the title, though it's not explicit — and some of the imagery is pretty harsh: "When the baby's born / Oh let's turn it to the snow / So that ice will surely grow / Over weak and brittle bones / Oh let's leave it to the wolves / So their teeth turn it to food."  Hey, that's not precious and twee!

Bye Bye Blackbird - Sammy Davis Jr.

Bye Bye Blackbird - Sammy Davis Jr.

2:49

single, 1962

Written by Ray Henderson and Mort Dixon, 1926

Davis singing this one starting out quiet, a capella, with snapping fingers as an accompaniment.  Then, the band kicks in, and it swings, until it slows down again and fades out.  Things are bad for the narrator: "No one here can love and understand me / Ah, what hard luck stories they all hand me."  But he's going to a place where somebody waits for him: "make my bed and light the light."  The tempo change reflects the sad situation and the hopeful future,; but will the narrator make it?  It's ambiguous.  Thus the final slowdown.

The Battle Of New Orleans - Johnny Horton

The Battle Of New Orleans - Johnny Horton

2:31

single, 1959

Written by Jimmy Driftwood, 1936

A novelty country song that adapts a military march for its beat.  The writer, Jimmy Driftwood, was a school principal in Arkansas with a passion for history.  He set an account of the battle to an old fiddle tune in an attempt to get students interested in learning history.  Driftwood's version adds fun to the lesson, with his yodeling, nasal voice, the "hup-two-three" background voices, and his silly humor ("We fired our cannon 'til the barrel melted down / So we grabbed an alligator and we fought another round / We filled his head with cannonballs 'n' powdered his behind / And when we touched the powder off, the gator lost his mind").  Historically accurate?  Citation needed.

Brand New Cadillac - Vince Taylor and His Playboys

Brand New Cadillac - Vince Taylor and His Playboys

2:37

single, 1959

Written by Vince Taylor

A genuine British garage rockabilly gem, this song is of course best known for being covered by the Clash.  I was interested to learn that two other bands also recorded it in 1964 (and put their names on it as authors, as was the style at the time).  But Taylor wrote it and was the first.  His slurred, surly vocal here is so proto-punk that it's no surprise that the Clash were attracted to this song.  The '50s surf-guitar solo is a perfect example of the rock riffs of the era.  It's amazing this wasn't a huge hit.

Bees Left the Trees - Sugar & the Hi Lows

Bees Left the Trees - Sugar & the Hi Lows

3:32

High Roller, 2015

Written by Amy Francis Stroup

A throwback-style band that should not be so obscure.  This song is a toe-tapping folk-rockabilly number that drops names of its influences: "I need some Jack some Johnny some Emmylou / And the ghost of the man in the blue suede shoes."  The narrator, with a mishmash of imagery, seems to be preaching pride in yourself as you are.  "Cause the wings get dirty / Don′t mean they don′t fly."  And "Cause the bees left the trees / Doesn′t mean there ain't honey inside."

Blue Moon - Dean Martin

Blue Moon - Dean Martin

3:04

Dream With Dean, 1964

Written by Richard Rodgers and Lorenz Hart, 1934

A laid-back, sleepy version of the classic.  This sounds like it was recorded in a nightclub right before closing, and everyone has gone home.  Very sparse instrumentation, with a sultry croon of a vocal.  By the middle of the voice Deano is almost talking, a rough whisper, not really singing.  Overall, I prefer the Marcels' doo-wop reworking, of course, but there's always room for a standard done well by a great talent.  

Can You Get To That - Funkadelic

Can You Get To That - Funkadelic

2:49

Maggot Brain, 1971

Written by George Clinton and Ernest Harris

I did know know that soul music harmonizing could also be funky!  And the lyrics break expectations or stereotypes about funk music: "I once had a life, or rather / Life had me."  Classic!  The narrator bemoans a love gone wrong, but with imagery rather than accusation.  "Checks you signed with love and kisses / Later come back signed insufficient funds."  Love the interplay between the various voices, alto rising high, then that super-deep bass coming in with "I wanna know."

Ça plane pour moi - Whyte Horses

Ça plane pour moi - Whyte Horses

3:29

Hard Times, 2020

Written by Lou Deprijck and Yvan Lacomblez

Whyte Horses is a shifting French-pop collective.  Here they romp through a fairly faithful, bright-yet-trashy rendition of the Plastic Bertrand song, with female vocal.  It's just as fun as the original, and I do like the song, but it's a pretty inessential track.  Maybe I just don't enough about this band to hear what they're adding to the song.

Can I Get a Witness - Marvin Gaye

Can I Get a Witness - Marvin Gaye

2:47

single, 1963

Written by Brian Holland, Lamont Dozier and Eddie Holland

Addressing the "chicks" and "young girls" in the audience, the narrator pleads his case, preacher style: is it right to be left alone?  Is this the way love is supposed to be?  It's a pretty clever ploy, proclaiming that you're single and, oh yeah, just happen to mention that you know how to treat a woman right at the same time ("I'm going to stick by her till the bitter end").  Gaye lived his life between gospel and the secular world, but here he's pretty much a Sam Cooke lover, not a preacher.  It's got the same punchy energy as "Heat Wave."

Can the Can - Suzi Quatro

Can the Can - Suzi Quatro

3:34

Suzi Quatro, 1973

Written by Mike Chapman and Nicky Chinn

Once you get past the nonsensical title, this song features extended and wire-thin imagery in which your boyfriend is an eagle and some woman ("mama"?) is the tiger, and they fight?  Apparently the title phrase is meant to convey something impossible — you can't put a can inside a can, the same way you can't contain your man if he's out there prowling for other, uh, wild cats, I guess.  I remain dubious.  Lyrics aside, it's a decent by-the-numbers rocker, and Quatro has enough attitude to sell it.

Cause I Said So - The Godfathers

Cause I Said So - The Godfathers

2:47

Birth, School, Work, Death, 1988

Written by the Godfathers

Ramones-inspired British punk-rock band hits hard, but a little on the nose, with this brash, nihilistic "I won't do what you tell me" song.  The chorus is the title shouted several times, while the main lyrics are so dumb they're amusingly clever.  "Every day's a thrill when you're living like me / Don't read Baudelaire's poetry / And I don't need no Ph.D."  I mean, you have to give it to a band that proclaims they're anti-book learning, but still can toss out a reference to Baudelaire.

I've Always Been Crazy - Waylon Jennings

I've Always Been Crazy - Waylon Jennings

4:12

I've Always Been Crazy, 1978

Written by Waylon Jennings

A defiant cri de coeur.  "I've always been different with one foot over the line / Winding up somewhere one step ahead or behind."  Sounds like an anthem of outlaw country, but apparently he was pretty sick of the label at the time he wrote this.  I like the sudden smoothness in his voice at the third verse, where he addresses a "beautiful lady," before going back to his typical smoky drawl.  The vaguely Latin-tinged horns at the end help spice up the extended fade-out.

I'll Go Crazy - James Brown and the Famous Flames

I'll Go Crazy - James Brown and the Famous Flames

2:11

Think!, 1960

Written by James Brown

This "please don't leave me" funky track evokes Ray Charles in its delivery and pacing, more 1960s rythym and blues than soul.  I'm not sure if the echoing backing vocals are an asset to this particular song; I find them a little distracting.  The narrator assures his love that he'll go crazy if she's gone, but then, defiantly, puts out a power mantra: "you gotta live for yourself, yourself and nobody else!"  From what I know of Brown, that's the philosophy he lived by: act famous, act like you're the show, don't compromise your beliefs for fame or anything, play your cards close to your vest. 

Boozophilia - Low Cut Connie

Boozophilia - Low Cut Connie

4:02

Call Me Sylvia, 2012

Written by Low Cut Connie ?

Apparently, "Boozophilia" was featured on Barack Obama's 2015 summer playlist.  I had no idea!  Maybe because of: "Down in Boozophilia / Down with a broken tooth / We're on the south-side of Chicago / Down here in the groove."  It look me another eight years to catch up to the coolest man to live at the White House.  Anyway, this is throwback rock, bar-band rock, with a wild piano taking center stage to add a little barrelhouse swing.  These guys don't take themselves too seriously, but their songwriting is killer.

Zero From Outer Space - Tom Petty & the Heartbreakers

Zero From Outer Space - Tom Petty & the Heartbreakers

3:08

Songs And Music From She's the One, 1996

Written by Tom Petty

A buzzy surf-garage rocker.  The lyrics are rather simple, and seem to be from the point of view of a depressed emo kid.  Or maybe Petty is just having a laugh (You think that you're so big / But I saw you kick that dog / When the wind blew off your wig), as he sometimes does.  Either way, it's not Petty's strongest song, but this is a solid turn by one of the powerhouse bands of rock and they're having fun.

Hazey Jane II - Nick Drake

Hazey Jane II - Nick Drake

3:46

Bryter Layter, 1971

Written by Nick Drake

"Let's sing a song for Hazey Jane / She's back again, in my mind / If songs were lines in a conversation / The situation would be fine."  Perfect orchestra folk-rock.  And with that, we can call it for Belle and Sebastian.  All of the Scottish band's entire oeuvre, every ascending trumpet line and jangling guitar, every soft-spoken twee reference, it's all here in this one song.  Pack it in, lads and lasses.  We'll just put this song on again and you can get back on the dole.  (I kid!  I kid because I love.)

Ball Of Confusion (That's What the World Is Today) - the Temptations

Ball Of Confusion (That's What the World Is Today) - the Temptations

4:06

single, 1970

Written by Norman Whitfield and Barrett Strong

An example of perfect funk and an excellent protest song.  That incredible bass delivery by Melvin Franklin!  "And the band played on."  A sort of proto-rap break out in the first verse: "Segregation, determination, demonstration, integration / Aggravation, humiliation, obligation to our nation."  This proves that you don't have to sacrifice musicality to deliver the news of the world.  I'm looking at you, Phil Ochs.

Back in the U.S.A. - Jonathan Richman & the Modern Lovers

Back in the U.S.A. - Jonathan Richman & the Modern Lovers

2:26

Jonathan Richman & the Modern Lovers, 1976

Written by Chuck Berry, 1959

Richman brings his Jo-Jo magic to the Berry classic, along with "uh-huh, oh yeah" background vocals and primitive surf guitar.  It's an infectious and playful version.  It's amazing that I didn't know this existed until today!  I'm a huge Berry aficionado and a Richman fan, and I love covers of all genres, so how did this escape my notice?  It's catchy, it's fun, it'll put a smile on your face.

Beyond the Sea - Bobby Darin

Beyond the Sea - Bobby Darin

2:52

That's All, 1960

Written by Jack Lawrence, adapted from Charles Trenet, 1945

Darin can be written off by some, perhaps, as the off-brand Sinatra, but his vocals here are a masterclass in swagger and sophistication. His voice, crisp and confident, glides effortlessly over the energetic big band arrangement, creating a version that is both smooth and dynamic. His youthful exuberance makes the song feel fresh even sixty-five years later. While the Chairman may have exuded a more effortless cool and measured phrasing, Darin leans into this song with an infectious verve, almost playful in his delivery.

Blue Bayou - Roy Orbison

Blue Bayou - Roy Orbison
2:29
single, 1963
Written by Roy Orbison and Joe Melson

This song stands outside the ordinary frame of things.  It's hauntingly beautiful, with an impeccable vocal by Orbison.  Crystal-clean production.  Why are so many great songs about going back to your roots?  The narrator is working like a dog, saving up his dimes until the day he can go back with his head held high.  Shades of "Detroit City" and "Omaha."  But those songs are themselves shades, compared to this ethereal, gorgeous, sad song.

Brother Love's Travelling Salvation Show - Neil Diamond

Brother Love's Travelling Salvation Show - Neil Diamond

3:32

Brother Love's Travelling Salvation Show, 1969

Written by Neil Diamond

A song about an itinerant evangelist, Brother Love, and his revivalist show.  Diamond even breaks into a sort of preaching about two-third through the song.  Who can resist a chorus that goes "Pack up the babies and grab the old ladies / And everyone goes, 'cause everyone knows / About Brother Love's show"?  I love songs that stray from rock's well-worn tropes, and it's catchy to boot.  As to whether Diamond means to praise revivalist shows or gently mock them, who knows?  I can't tell from the lyrics.