Connection - the Rolling Stones

Connection - the Rolling Stones

2:07

Between the Buttons, 1967

Written by Mick Jagger and Keith Richards

A tight, no-frills burst of British Invasion, stepping slightly away from American roots and giving a brief nod to the melodic stylings of the Beatles.  The song seemingly was inspired by the band's frustration with being targeted for their drug use: "But the bags, they get a very close inspection / I wonder why it is that they suspect of 'em / They're dying to add me to their collections /And I don't know if they'll let me go."  He's just trying to make his connecting flight, man.  Or is it the kind of connection that was meant in 1969's "You Can't Always Get What You Want?"  Probably that one.

Izembe Mfana - Ladysmith Black Mambazo

Izembe Mfana - Ladysmith Black Mambazo

3:41

Always With Us, 2014

The album this track comes from is a tribute to the group's founder's wife, Nellie Shabalala, who was murdered by a masked gunman.  It blends the women's voices of Nellie's group with Joseph Shabalala's typically male-only group.  This adds a nice counterpoint to the tenor blend of Ladysmith; this particular track sounds almost like a conversation, punctuated by clicks and whoops.  The vocal control and harmonies flow over the ear like honey.  Not Sweet Honey in the Rock; that's a different group.

Zu Zu - the Bonnevilles

Zu Zu - the Bonnevilles

2:42

single, 1960

Written by William Maxwell and Albert George

Very little is known about this doo-wop group.  Some sites say the song was released in 1959, some say 1962.  Some say it was written by Maxwell and George, and some have an A. Cooper listed as the co-author.  The Bonnevilles seem to have released only this song, and its A-side, "Lorraine."  Anyway, this is a fine example of late '50s doo-wop, all soaring falsetto, harmony background, and "bop bop bop bop bop" backing.

Ye Banks and Braes - The Real McKenzies

Ye Banks and Braes - The Real McKenzies

2:24

Oot & Aboot, 2003

Written by Robert Burns and Paul McKenzie

Also known as "The Banks O'Doon," this is the third version of the poem written by Robert Burns in 1791.  McKenzie turns it into a fiery Celtic punk number, the ultimate in genre fusion.  The narrator is a proto-Emo, groaning about how even the chirping birds remind him of how life brings him no joy any more.  Even flowers suck now.  "And my false love did steal that rose / And all she left me was but a thorn."

What'll I Do - Bob Dylan

What'll I Do - Bob Dylan

3:16

Shadows In the Night, 2015

Written by Irving Berlin

I haven't put in a great deal of time listening to Dylan's four albums of Sinatra covers, which is a shame, because he made some great versions of classic songs from the greatest songwriters of the era.  In this song, the narrator laments that his love is gone, and he has only a photograph and dreams that won't come true.  The pedal steel guitar really shines on this track, giving it a hollow, noir feeling.

V-Neck Sweater - The Greyboy Allstars

V-Neck Sweater - The Greyboy Allstars

2:35

What Happened To Television?, 2007

Written by ?

A blend of old school funk jazz informed by modern hiphop sensibilities.  The band is apparently named after its founder, a DJ, but there's little of that sound on this particular track.  It's all horns and organ and wailing funk vocals that have a lot of soul but not much semantical content.  It's a decent song, but I'm a bit underwhelmed; it never really gets in your face like it seems it wants to.

Us Of Lesser Gods - Flogging Molly

Us Of Lesser Gods - Flogging Molly

3:19

Float, 2008

Written by Dave King

I'd say this is an almost archetypical Flogging Molly track: a blistering Celtic rock with traditional instruments blended with electric, backing Dave King's off-brand Shane MacGowan voice.  The lyrics convey anger, but are rather abstruse: something about how life is a hell on earth now because of, possibly, acid rain, coastal erosion, sex on TV?  But whatever King's shouting about, this post-punk with an Irish lilt makes it sound great!

This Must Be the Place - Wild Hands

This Must Be the Place - Wild Hands

3:21

I Want To See Some Color, 2022

Written by Max Patzner

I thought this might be a Talking Heads cover (and what a great juxtaposition of band names that would be!), but no.  It's quiet, restrained folk-pop, mellow with almost a rocksteady beat.  The vocals have a faint echo as Patzner sings about some object of his affections — a partner, a place, someplace that feels right.  "I saw you in my dreams / Well, goodbye, lonesome / I see home every time I close my eyes."  A terrific laid back pop paean.

Some Other Time - the Shazam

Some Other Time - the Shazam

2:48

Godspeed the Shazam, 1999

Written by The Shazam, probably?

Another band totally new to me, this is power pop heavily influenced by the 1960s sound, with catchy hooks, similar to Big Star.  This is a wistful "coulda-been" love song: "Maybe in a fantasy / Or a memory / You and me could've really been something."  And the dry witty hook that turns the usual cliché on its head: "But now you're old / And I am everything I said I would be."  Hints of Beach Boys harmonies, with a theremin at the end nodding to "Good Vibrations."

Part-Time Love - Elton John

Part-Time Love - Elton John

3:16

A Single Man, 1978

Written by Elton John and Gary Osborne

Working with the pen of his lesser-known writing partner, John made this bouncy little tune about what appears to be adultery.  "You've been seen running around... Don't tell me what to do / When you've been doing it too / Because you, me and everybody's got a part-time love."  Everybody does it, apparently.  "I've got someone at home / But she's got a love of her own."  It's a jaunty tune you can bob your head to, until perhaps the lyrics start sinking in.

Valentine's Day - David Bowie

Valentine's Day - David Bowie

3:02

The Next Day, 2013

Written by David Bowie

I was not much interested in Bowie as a young man, but the older I get the more I come to think of him as a towering genius.  Thing song seems to be the plans of a school shooter, Valentine, who is telling the narrator what will happen.  "It's in his scrawny hands / It's in his icy heart / It's happening today."  The song doesn't go into the reasons why Valentine might feel this way, just that he resents the football stars and dreams of having the world at his mercy.  I think Bowie could have approached this subject with something a little more complex, but that's nitpicking because I think Bowie has the talent to do better.