Barroom Blues - The Pink Stones

Barroom Blues - The Pink Stones

3:02

Introducing... The Pink Stones, 2021

Written by the Pink Stones

This is a catchy country-rock song that might have been found on a late Byrds album.  The Pink Stones, a sextet from Georgia, lean on twangy pedal steel and honky-tonk piano over the typical guitar, bass, and drums.  In the song, the narrator is just hanging around the bar, with nothing to do since his lady left him, ready to drink or fight, or anything that's not going home: "I've got nowhere to be now that you're not mine / Waiting on an empty bottle to show me a sign / I got the late night bar room blues / And I'm aiming to lose."  The melody bounces along, belying the deep loneliness of the lyrics. 

Blue Canadian Rockies - The Byrds

Blue Canadian Rockies - The Byrds

2:01

Sweetheart Of the Rodeo, 1968

Written by Cindy Walker, 1950

The Byrds go full country on this cover, which has a tried and true subject: the man misses both a revered geographical place and the girl who still resides there, and now he's coming home.  "Now, oh, how my lonely heart is aching tonight / For that girl I left behind / And oh, what I'd give if I could be there tonight / With the sweetheart who's waiting for me."  It's a wonderfully crafted, delicate song that perfectly evokes nostalgia and yearning, and the Byrds handle it with skill.

Buzzard Pie - Rudy Greene

Buzzard Pie - Rudy Greene

2:47

single, 1949

Written by Jim Bulliet & Rudy Green

Rudy Greene also recorded as Green, with no N.  This is an early R&B novelty song in the showboating style that Fats Waller was so terrific at (Greene even slips in a falsetto at the end, like Fats did).  The prominent instruments here are sax and horn, though, not piano.  The song is about a buzzard who spies a delightful treat and comes in to feast, only to come face to face with a guy so hungry he's ready to eat the buzzard itself: "Hi, hi, why you big fat bird / Hi, hi, hi Mister Buzzard / There's a meat shortage, or haven't you heard?"  I'm intrigued that a song of this era could include the lines "Die, die, die said the buzzard, die right now."

Brother Down - Sam Roberts

Brother Down - Sam Roberts

4:24

We Were Born In a Flame, 2003

Written by Sam Roberts

"I think life is passing me by."  That's the refrain of this lush alt-rocker.  With handclap percussion, strummed guitars, and layered vocals all bring groovy '70s-style vibes.  The lyrics are a sort of vague assessment of the state of the world from a dissatisfied mind: "The only sound you hear is a closing door / Been looking for peace but they're bringing you war / Rich man's crying cause his money's time / And poor man's smiling cause he knows he ain't blind."  Well, it's not Leonard Cohen, but you can dance to it.

Brain Cloudy Blues - Bob Wills & His Texas Playboys

Brain Cloudy Blues - Bob Wills & His Texas Playboys

2:44

single, 1947

Written by Bob Wills and Tommy Duncan

This song is a mix of honky-tonk and swing, with hints of bluesy guitar licks in the solo.  I thought it would be about being clouded by alcohol, but it's lyrically more of a typical blues song.  "My brain is cloudy, my soul is upside-down / When I get that lowdown feeling, I know the blues must be someplace around."  The narrator asks his love to treat him right.  Wills makes brief, humorous, reactive comments between the lines, which are sung by Duncan.  Bob Dylan cribbed a line or two of his "Quit Your Low Down Ways" from this song, including the drawn out way Duncan sings "You're gonna need, you're gonna neee-eee-heed my help some day."  Dylan also may have gotten "Don't the sun look lonesome goin' down" form "It Takes a Lot To Laugh" from this song's "Don't that sun look good goin' down." (Wills interjects dryly, "It's electric lights you're lookin' at.")  

Be Careful What You Do - John Brim

Be Careful What You Do - John Brim

2:41

Tough, 1968

Written by John Brim

An electric Chicago guitar blues, warning some lady to be careful about all that talking about his business that women be doing.  This one gets pretty grim fast: "Now come here baby look here and dead in the eye / And you know if you tempt to quit me / That's when you're gonna die."  Lyrically it's pretty trite, if not off-putting, but the blazing guitar and harmonica licks are terrific.  Brim is best known for writing "Ice Cream Man," which was covered by both Van Halen and Martin Sexton.

Big Road Blues - Tommy Johnson

Big Road Blues - Tommy Johnson

3:13

single, 1928

Written by Tommy Johnson

Unrelated to Robert Johnson, who was active nearly a decade later, Tommy Johnson's style does somewhat evoke Robert.  He has an eerie, shaky voice that he sometimes whips into a ghostly falsetto, and his acoustic guitar sounds like two instruments being played at once.  His thick Mississippi drawl is hard to understand at times.  Lyrically it's a standard blues, walking the road by himself, but someday the sun will shine.  In one verse he starts repeating syllables, almost scatting.  "What makes you do me like you do do do? / Now, you think you gon' do me like you done poor Cherry Red."  (Who is Cherry Red?!)  It's an absolute crime that this musician is unknown today.

Big Legs - Gene Phillips

Big Legs - Gene Phillips

2:52

single, 1947

Written by Gene Phillips

A rollicking jump blues with tinkling piano lines and buzzy blues guitar, and sultry stabs of sax to punctuate the vocals.  Phillips extols the pleasures of that blues standard, the big-legged woman.  "Big legs is all I crave / A big-legged woman can make me her slave."  He'll give up all his gold for such a lady.  Let them carry his coffin to the grave, and he'll be happy.  Single-minded, sure, but you have to admire his enthusiasm.  Many disk jockeys refused to play this record.

Blue Monday - Smiley Lewis

Blue Monday – Smiley Lewis
2:41
single, 1954
Written by Dave Bartholomew and Smiley Lewis

Later a hit for Fats Domino, this song is built on a relaxed New Orleans groove, chronicling the drudgery of the workweek, with each day bringing a new complaint ("Oh, hard Tuesday I'm so tired, I've got no time to play / Here comes Wednesday, I'm beat to my socks / My gal calls, got to tell her that I'm out").  This is a solid, unhurried version: earthy, unhurried, and rooted in working-class realism rather than Fats' polish.  There's no wordplay or metaphor here, nor any pop gloss, just routine ground down into song. 

All You Ever Wanted - Rag'n'Bone Man

All You Ever Wanted - Rag'n'Bone Man

3:06

Life By Misadventure, 2021

Written by Ben Jackson-Cook, Mike Elizondo, Natalie Hemby, and Rory Graham

In this song, the narrator wanders through the old haunts of his city, seeing despair and poverty, and none of the old landmarks he knows form his youth.  "Moving forward, walking back / Everyone is falling but we don't see them / A day away from a stroke of bad luck / Money's slipping right through the cracks." The title is a sneering challenge, not a consolation: it asks, is this watered down, gentrified place all you ever wanted?  Really?  Rag'n'Bone Man's booming baritone gives the lyrics a righteous power.

Acapulco Rock - Freddy Fender

Acapulco Rock - Freddy Fender

2:23

Eddie con los Shades, 1961

Written by Freddy Fender

This release has an interesting history.  It was recorded under the name under the name Eddie Medina because at that time he was still with Falcon Records under his real name, Baldemar Huerta.  They wore sunglasses on stage; thus the Shades part.  This song is in Spanish, describing a dance on the beach, encouraging everyone, even the swimmers, to get out of the water and have fun dancing.  Fender's guitar is bright, with stuttering surf and rockabilly lines, and a hint of Latin flavor.

Adelita - Nat King Cole

Adelita - Nat King Cole

2:09

Cole Espanol, 1958

traditional

This is a traditional Mexican corrido, originally about a woman who does to fight in the Mexican revolution because of her love for a man.  In Cole's version, the going to war part is left out, and it's a declaration of a soldier of his love for Adelita, declaring that he'd follow her anywhere, even in a military car or train, and would love to buy her a silk dress.  Over a guitar and bright horn lines, Cole sings in Spanish, which sounds fairly decent to my untrained ears, albeit his delivery is somewhat halting.  When the male chorus comes in, it's a fuller sound and a smoother, more fluid Spanish.  

Armed And Extremely Dangerous - First Choice

Armed and Extremely Dangerous – First Choice
2:47
Armed and Extremely Dangerous, 1973

Written by Allan Felder and Norman Harris

This is a punchy slice of Philly soul, with funky disco beats and strings supporting soaring girl-group vocals.  After beginning with a "calling all cars" clip straight from cheesy cop shows, the singers launch into a description of a slick lothario who breaks hearts, loving and leaving the ladies, often with serious consequences: "The day I gave into his charms, who would think that he would succeed? / Then go on his way, leaving me here with another mouth to feed."  The warning to other potential victims comes wrapped in a lush soul sheen, all polish and funky rhythm.  I love the line "He might look like the average guy / But he's wanted by the F.B.I."

August - Taylor Swift

August - Taylor Swift
4:21
Folklore, 2020
Written by Taylor Swift and Jack Antonoff

As with almost all of Swift's songs, this is about a love that didn't last.  The song drifts forward on gauzy guitars and soft percussion, Swift's lush, ethereal voice hovering between nostalgia and quiet resignation. She writes from the perspective of the girl who wasn't "the one," citing secret assignations and hoping she and the guy are an "us."  She leaves the love triangle drama out and focuses on the emotional blowback: stolen afternoons, hope that lingers longer than it should, and the slow realization that the future belongs to someone else. "And I can see us twisted in bedsheets / August sipped away / Like a bottle of wine / 'Cause you were never mine."  It's a good song, but as usual I'd prefer more verses and fewer choruses.

Dance, Dance, Dance - Bill Parsons

Dance, Dance, Dance - Bill Parsons

2:40

single, 1960

Written by Bill Parsons?

This is not the song by the Beach Boys, nor the other song of the same name by the Steve Miller Band.  Instead, it's an example of the burgeoning intersection between rock riffs and honky tonk talk-singing, nearly but not quite yet rockabilly.  Parsons is an interesting figure whose story is muddled.  Apparently Bobby Bare recorded the vocals for the first single released under Parson's name, and while Parsons sang on the other, Bare was accidentally credited to both.  Thus, some people think Parsons was just a pseudonym for Bare.  Information on this song is practically nonexistent; I'm guessing at the release date.  In fact, come to think of it, I have no proof this is actually Parsons.

Do You Love Me - Guster

Do You Love Me - Guster

3:40

Easy Wonderful, 2010

Written by Brian Rosenworcel, Ryan Miller, Adam Gardner, and Joseph Pisapia

This is a perfect, positive power-pop track with rich buoyant harmonies, "doo doo, doot a doo" sing alongs, catchy hooks and bells.  It seems to describe a long term relationship, in which the narrator seeks some gentle reassurance.  "But we don't know how / Do we have it / As much as anybody ever has?"  I haven't kept tabs on Guster since 1997's Goldfly; they've shed their indie conceits and blossomed into a peppy, fully blossomed sound that's instantly agreeable.

Dark And Metric - They Might Be Giants

Dark And Metric - They Might Be Giants

1:42

Long Tall Weekend, 1999

Written by John Flansburgh and John Linnell

This short and vaguely sinister song depicts a person in a small quiet town where nothing happens, but he feels like he's drowning.  There are no taxis, no adventures with a night in jail, not even a fancy car ("No spoiler, no windscoop / No mag wheels in back / No hydraulic shocks, no privacy glass").  The metric part of the title might be nothing (I read that John Linnell just came up with cool-sounding titles first to write lyrics to), or maybe the small town is in Canada or Europe?

Dang Me - Roger Miller

Dang Me - Roger Miller

1:48

Roger And Out, 1964

Written by Roger Miller

Like most of Miller's material, this is a humorous novelty song, with Miller providing a silly "boop bup bup brrr" chorus.  Lyrically, it's the plaint of a goofus who's out with the boys, leaving his wife at home, and getting up to no good.  Miller claimed he wrote the song in four minutes, and the first run-through at the studio, with veteran session players, is the version that made it to the pressing.  If you have tolerance for lines like "They say roses are red, and violets are purple / Sugar's sweet and so is maple surple," you'll get a chuckle out of this.

Dancin' Fool - Barry Manilow

Dancin' Fool - Barry Manilow

2:38

Scores: Songs from "Copacabana" and "Harmony", 2004

Written by Barry Manilow, Bruce Sussman and Jack Feldman

This is a rerecording of a previously released song, though I can't find when Manilow originally recorded it.  Manilow's vocals are smooth and powerful, while the band brings high energy brass blasts and string stings.  Ther's perhaps an overabundance of scatting, but chalk it up to Manilow's enthusiasm.  I love it when writers put rhymes, especially multiple word rhymes, mid-sentence: "When that crooner starts in to scattin' / Just give me a chance an' / My tuxedo pants an' / Presto! I'm a dancin' fool."  

Shi'ite Punk - The Vandals

Shi'ite Punk - The Vandals

3:19

Slippery When Ill, 1989

Written by Dave Quackenbush and Jan Nils Ackermann

This is a riotous punk song depicting a Muslim looking for a fight, just trying to live the punk life and be free: "Religious dedication rushing through his veins / 'Cause the Shi'ite punk don't feel no pain."  He doesn't believe in his government's dogma.  He wants to go to shows, to have a cool car, some girls, and some bullets.  "Want a freedom for my people, no religious persecution / Give me this and there'll be no revolution."  The music is the Vandal's rockabilly punk, with some country riffs and the addition of scratch box noises (although to me, a lot of the scratches sound like they some from a human beatbox).  

Somewhere Far Away - Dead Moon

Somewhere Far Away - Dead Moon

3:09

Nervous Sooner Changes, 1995

Written by Fred Cole, Toody Cole, and Andrew Loomis

A folk-punk band from Portland that was more popular in Europe than home, Dead Moon wrote songs with dark themes using old time country influences fused with a DIY, garage-rock sensibility.  Two band members died early, ending the band.  This song is a low-fi, slow tempo about a relationship that might be falling apart, or maybe the narrator is the one falling apart, unsure what will last.  He mentions "he'll be out there, somewhere" if his partner ever needs him.  The poetic lyrics are delivered with a shaky croon.  "How vaguely time remembers / How slowly we forget / We all pass through this wilderness / Never know where we'll be sent."

Stubborn Kind Of Fellow - Marvin Gaye

Stubborn Kind Of Fellow - Marvin Gaye

2:44

That Stubborn Kinda Fellow, 1963

Written by Marvin Gaye, William "Mickey" Stevenson, and George Gordy

A brash Motown screamer, this song is another in R&B/rock's catalogue of songs of lovelorn guys pushing their infatuation too hard on some hapless woman.  "But every time I reach for you, baby / And try to kiss you, you just jump clean out of sight," the narrator complains, nevertheless hinting he may have earned some antipathy on her part: "Now I know you've heard about me / Bad things about me, baby, please let me explain."  Brimming with youthful energy, the tune is catchy, packed with subtle shifts and sharp hooks.  The band locks into a driving backbeat after a crisp opening drum fill, with a  lively horn section and a playful jazz-flute break adding extra color.  The real magic, though, is the vocal chemistry.  A girl group called the Del-Phis, who would later become Martha and the Vandellas, blend backing vocals to Gaye's exuberant, raw howl, and the result is a terrific song that paved the way for future Gaye classics.

Something About You - Four Tops

Something About You - Four Tops

2:41

Four Tops Second Album, 1965

Written by Brian Holland, Lamont Dozier, Eddie Holland

Over a guitar riff that evokes the Stones' "Satisfaction" and buzzy horns, the Tops belt out this love song with authority and panache.  An uptempo rocker, it's got a classic Motown sound, including a muscular rhythm section featuring bells, tambourine, and drums from the Funk Brothers.  This has got to be one of the best Motown songs that wasn't a smash hit, and there's really no reason why it shouldn't be listed up there with all the usual greats.

Stick Season - Noah Kahan

Stick Season - Noah Kahan

3:02

Stick Season, 2022

Written by Noah Kahan

There are over 1.7 billion plays on Spotify for this track, but I'm only vaguely familiar with it; it was my teenage stepdaughter that introduced it to me.   The title refers to a regionalism for late fall, the time after Halloween and before snow starts and the trees look like bare sticks stretching into a grey sky.  It's an introspective, plaintive cri de coeur over masterful acoustic guitar.  It disguises its melancholy behind an almost cheerful folk-pop bounce. With a slightly frayed, high-register voice, Kahan delivers lines that feel conversational rather than poetic ("You must've had yourself a change of heart like halfway through the drive / Because your voice trailed off exactly as you passed my exit sign / Kept on drivin' straight and left our future to the right") yet the imagery lands with precision. Kahan sings about small-town roads, awkward run-ins with an ex's family ("I saw your mom, but she forgot that I existed"), and the peculiar loneliness of staying behind while everyone else seems to move on.  The details are hyperlocal, yet the feeling is universal.

Will You Come And Fetch Me - Of Montreal

Will You Come And Fetch Me - Of Montreal

1:59

Satanic Panic in the Attic, 2004

Written by Kevin Barnes

The narrator is heading for collapse in the face of a bizarre world and pleads with a nameless girl to pull him from the brink.  "If this nightmare can't be stopped / Go out and find me when I'm dropped."  It's a ramshackle burst of psychedelic pop with found sounds, swift changes in beat, instruments like bells popping up and receding, and surreal lyrics that bring to mind "Lucy in the Sky With Diamonds."  At under two minutes, it's sadly over before you can fully appreciate it.

We Belong Together - Ritchie Valens

We Belong Together - Ritchie Valens

1:56

Ritchie Valens, 1959

Written by (Robert Carr, Johnny Mitchell, Hy Weiss, 1958

The ultimate song for possessive types.    Over minimal guitar and drum backing, Valens' high, wavery voice proclaims sole ownership of some lucky lady.  "You're mine, your lips belong to me / Yes, they belong to only me, for eternity."  Okay, slow it down there, buddy.  Maybe the women in question would like a little independence and self-actualization.  To me it's a slight, fairly rote track, but it has a quarter billion streams on Spotify, so it must resonate with people.  The song was originally a hit for a little-known doo-wop duo called Robert & Johnny.

Wait And See - Fats Domino

Wait And See - Fats Domino

1:56

single, 1957

Written by Fats Domino and Dave Bartholomew

A sad sack's song, the eternal loser still looking hopefully to the future.  "One day you'll cry / I won't come back to you," he warns, eroding the threat instantly in the next breath: "You've got such a great big beautiful eye / But I love to see you when you smile."  Vibrant, jazzy horns punch bright lines under the Fat Man's jovial vocals, with a sweet new Orleans sax solo in the middle.

When Sunny Gets Blue - Nat King Cole

When Sunny Gets Blue - Nat King Cole

2:46

Love Is the Thing, 1957

Written by Marvin Fisher and Jack Segal

Cole's masterful, unmistakable voice elevates this stately jazz standard about a once happy-go-lucky girl who has had her heart broken.  The narrator has a feeling it won't be forever: "Hurry new love, hurry here / To kiss away each lonely tear / And hold her near when Sunny gets blue."  The band plays the beautiful melody with restraint (albeit sticking in a few string flourishes), letting Cole have the spotlight.

Where You At? - Lloyd Price

Where You At? - Lloyd Price

2:05

single, 1953

Written by Lloyd Price

A fiery, primitive N'awlins R&B, little more than the title chanted and echoed, over a buzzy, burlesque sax line.  "Well I want someone to bring my angel home / I looked all over / I looked all over New Orleans," Price shouts, elongating the last syllables.  It's not exactly essential listening, but it's got raw power, and there's no denying Price's energetic vocals.