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Wednesday, November 30, 2022

Who Did It Better? Never Can Say Goodbye - The Finalists!

Who Did It Better? 
Never Can Say Goodbye
The Finalists!

Marking the 101st song we've examined as part of the Who Did It Better? series, today, after having examined nine versions, three at a time, we take a look at the three versions of the  classic song, Never Can Say Goodbye, which received the most votes. Yes, we whittled it down to three... but now comes the hard part... we must choose one. So, be sure to leave your vote in the comments section. I'll do a tally, add my own and announce the winner next week! 

As for the song? Written by actor Clifton Davis, Never Can Say Goodbye is a song which remains evergreen, as in, to this day, artists continue to discover and cover it, each bringing something unique to the mix. Davis starred in the television sitcoms That's My Mama and Amen. In addition to his many television, Broadway and movie credits, he was also a songwriter, responsible for Lookin' Through The Windows and Love Song (The Jackson 5), Can We Fall In Love Again (The Supremes) and the perennial favorite Never Can Say Goodbye.

Originally written for The Supremes (post Diana Ross), the powers that be at Motown thought the song was a better fit for The Jackson 5. Included on their 1971 album, Maybe Tomorrow, it features a 12 year-old Michael Jackson on lead. Released as a single, the song would peak at #2, remaining there for three weeks in May of 1971, kept from the top spot by Three Dog Night's Joy To The World. Their version did go #1 on the US R&B chart, while also snagging the #33 slot in the UK

As the seventies went full-bloom, so did the sexual revolution and... the very adult world of the discotheque.

Gloria Gaynor had a major disco-defining moment in 1974, when her version of the tune became a worldwide smash. Stateside, she nabbed the #9 slot on the Hot 100, and #3 in Canada, while overseas, she fared even better... hitting #2 in the UK, besting The Jackson Five's version in both Canada and the UK. In addition the song got to #3 in Australia, #13 in Germany, #3 in Ireland, #6 in The Netherlands, #8 in South Africa, and #3 in Spain. 

Produced by the Disco Corporation of America, a production company newly formed by Meco Monardo and Tony Bongiovi, augmented by Jay Ellis and Harold Wheeler and released on MGM Records, her version has the distinction of being the first #1 song on Billboard's Dance/Disco chart (which later would become the Dance/Club Play chart.)

The Communards, a British duo which consisted of Jimmy Somerville, formerly of Bronski Beat, and Richard Coles, had scored a #1 UK hit in 1986 with their cover versions of Don't Leave Me This Way. It also snagged the top spot on Billboard's Dance Club Play chart in the US. In the age of AIDs, due to the lack of funding and interest in solving the health crisis, the single took on new meaning among members of the gay community. 

As part of their second album, 1987's Red, the pair chose to cover another disco classic which would resonate in a similar manner; Never Can Say Goodbye. Their hi-NRG cover of the song would reach #1 in Spain, #2 in Ireland, number, and #4 and #2 on Billboard's Dance Club Play chart in the US.  

And that's the whole story.

Now? On to the competition

The Song: Never Can Say Goodbye
The Competitors: The Jackson 5 vs. Gaynor vs. The Communards

Never Can Say Goodbye - The Jackson 5

 
Never Can Say Goodbye - Gloria Gaynor

Never Can Say Goodbye - The Communards

Here are my previously posted thoughts about each version:

The Jackson 5

So, this is a product of The Corporation - a group of Motown insiders who had an ear for what pops. 

Odd harpsicord opening, suggestive sigh, and then some freaky sounding beats being laid down. With a virginal sounding Michael singing on top... well, he might as well be female - his tone is so pure and bell-like. Pristine. The backing vocals are suitably subdued. 

But as we ramp up the intensity, future Michael comes into play. He's got an edge to him, backed up by a fascinating rhythm section. Oh... and a flute. Yeah. Well... it was kind of a Jackson 5 thing, right? That flute. 

Oddly enough, hearing this, you can well imagine The Supremes with Diana Ross recording this song. It's a perfect fit. And Michael is summoning a bit of Diana's precious princess-vibe as we mellow back down to a second verse.

And for all of the pop-smarts that Michael's vocals bring to the proceedings, I have to say... that by verse two that backing track is sounding a bit canned - a bit too adult-contemporary, considering this is a bunch of teens. Another reason this would have worked better for the Supremes. 

Love that breakdown at the 1:29. Michael carries the day, doing a little James Brown imitation there.

And again, verse three? We get the smoothness of Diana. He had great pipes and glommed on to all the right influences. It's hard to believe this is coming out of a 12 year-old singer, but then again, by this point, he was already road-tested and seasoned.

The interplay with the flute? It works on some level. Gets pretty busy, though. 

I do have a problem with this. These boys are too young to be singing this very adult song. Not only is the arrangement adult contemporary, but the subject matter? Well, I don't know too many teens who could articulate the ups and downs of a relationship in this manner. That The Jackson 5 pull it off only proves what old pros they'd quickly become.

Gloria Gaynor

Can you say 'disco strings'! Oh, my... what a wonderful whirl. I am already heading for the dance floor. And that horn chart stings like honey bee.

The gallop? Well, it's 1972 and, therefore, early in the disco game. Gaynor hits note one sold-footed, if a bit nasal. That's okay, she's got a lot of swirl to compete with. I love that as we build up to that chorus, she stretches out into more of a legato sound, finding and defining that lovely melody. Gaynor's voice is in top form. 

The backing vocals are kept in check and timed nicely. And she opens up on more and more, I am in heaven. Those notes simply appear and hover. Delicious. The big scoop on 'so'? So much fun. She does an incredible job of mixing up her attacks and brings so much shape to this. And the amount of energy and excitement it all creates? Infectious. 

In lesser hands? That chorus could go totally shrill, but she manages to keep the energy and attack in place while rounding off the top just enough to make it super palatable. 

Second verse, same as the first... her vibrato comes into play, but it is so tight, it melds well with the strings and horns. I am astounded by those backing vocals - timed so well and kept in check. Marvelous. 

And, trust me, that horn chart? That would undermine a lesser singer, but Gaynor is not having it, oh, no. She is queen bee, here.

There is such a wonderful depth to this arrangement. Kudos all around. A perfect marriage of style, sound, and technique. 

The Communards

What a regal opening. From two queens, what else could we expect? Of course, they know how to make an entrance.

Sommerville simmers over that swath of synths like a ghost. A hollow sounding synth bass and in the machine kicks. Sommerville's falsetto? Flawless. As is this mix. I rather like that he's barely riding on top of the wave; it continues that spirit-like sound. 

My only beef with Sommerville's vocals has to do with the fact that they have no bottom - which, of course, is due to the fact that he's singing falsetto. That very airy quality is what makes him sound rather specter-ish. It's a fascinating (and rare), but I find myself wanting a bit more variety. 

Hmm. Not in love with those female backing vocalists - although, point of fact, there are no other vocalists listed in the credits on the album, so it has to be Sommerville doing his own backing vocals (according to discogs.com.)

My word, this machine took off and just keeps pounding forward. It's energetic, but... a bit lacking in character.  There isn't a great deal of warmth to be found in these grooves, but then those were the times, yes? 

I rather like the soulfulness Sommerville manages to bring to the first few lines of each verse. And when he takes the briefest of liberties with the melody line, jumping up a third? That's rather thrilling, as well. 

This arrangement... it just soars and soars. Every time I think I'm over it, the damn thing pulls me back in. And the more Sommerville breaks away from the expected, the more I admire his vocals. He has got some serious chops. 

Also, I have to say, it's nice to hear a male vocalist declare his love of another man without flinching or apologizing. This is activism at its most danceable. 

Eek. That instrumental breakdown. Not only does it kill the vibe, it suddenly jerks the tempo out of alignment - in the listener's brain. Fortunately, it doesn't overstay it's welcome.

Honestly, when and if (well, you know, old queens never die) Sommerville ever passes from this mortal coil, I sure hope they examine his vocal chords in depth. No one sounds like this. Not with this amount of stamina. My throat is hurting just listening. I can't imagine what's going on in his larynx. 

Oh, and he's doing such a fine job, I'm not sure why Coles felt the need to smarm it up with that horrible Vegas-style breakdown at the 3:35 mark. And just when you think Sommerville has no where else to go, he breaks out totally - where is that sound coming from? That is amazing.

Warm, it is not. Energetic and rather an amazing feat? 

Absolutely.

The Verdict

Michael is amazing. But the song? Not a good fit. And I don't like the tempo or the arrangement. It's too by-the-numbers and too adult contemporary. 

Gloria is at the top of her game here. Maybe the arrangement can be faulted for being a bit Vegas brassy, but I adore it. It works on all levels for me. And I adore the depth and warmth Gaynor keeps bringing to the mix time and time again. She is so on point throughout. I have a hard time finding fault with this version.

The Communards? Historical, for sure. So let's give them props for that. And Sommerville? What an amazing voice - unlike any other, and here, used to great effect. He sounds ghostly for the same reason that this version is historically significant to the gay community. 

However... Coles' arrangement sounds more dated than Gaynor's. It's also cold and, on brief occasion, difficult to fathom. Those breakdowns? That instrumental section? They detract. Sommerville is an angel soaring and soaring. All those electronics? They keep bringing us back to the cold, hard world. And that's my major issue... and even Sommerville shares a bit of the blame, here... this is cold. Too cold. I need this to be body temperature at the very least - which is why Yazz's version still pulls me in. No, she can't touch Sommerville vocally, but her version is very human and rather lovely. And it's those qualities I find lacking in The Communards.

So... in the end? 

My vote goes to Gaynor. She owns this song. I will always want to dance to her version. Hearing it? I am automatically in a better mood and wish I could sing it. That's the hallmark of a great song. 

So, Gloria Gaynor for the win. 
--- ---

Okay, kids...

It's your turn. Your last chance to have a say, here.

Who is it going to be?

The Jackson 5? Gloria Gaynor? Or The Communards. 

All are worthy, but only one can win.

So, have your vote counted. Leave it in the comments section, along with your thoughts, or any suggestions for future Who Did It Better? posts. 

And that's all for now.

Until next time...

Thanks for reading and listening... and voting!

--- ---

Never Can Say Goodbye - The Jackson 5

Never Can Say Goodbye - Gloria Gaynor

Never Can Say Goodbye - The Communards

Tuesday, November 29, 2022

Wonderland Burlesque's Bring It On Back Quiz

Wonderland Burlesque's
Bring It On Back Quiz

Today's quiz is all about those moments which occur when a thought flashes in your cranium, such as, 'Whatever happened to...", or 'Wouldn't it be nice if...'

It's all about bringing something back to life, to improve the quality of our lives.

So think about it. What do you think should make a comeback?

I've provided five topics, but feel free to get creative and volunteer anything that you'd like to see return to common use, something you've come to appreciate, or something you miss. 

It's all good. 

So? What's on your list?
 
1/ Fashion

Men's Shawls

Remember the Spanish shawls that Rudolph Valentino or Roman Norvarro used to sport on occasion?

They were sort of part of the matador get-up? 

Well, I want to bring something like that back. But maybe modernize the fabric and Stevie Nicks it up a bit. Less gypsy, more mysterious international traveler?

I have this fringed lap blanket. It's made of this fuzzy knit material. I fold it into a triangle, so the fringe is on two sides of the triangle and wrap it over my shoulders, sometimes throwing one end of the triangle over one of my shoulders. It's a burnt maroon and for some reason, the combination of the textures and color makes me feel dashing. 

I remember an aging Truman Capote doing something similar and, while he struck me as rather tragic, the cut of his shawl made for a dashing figure. His always had fringe and it looked awesome.

I want that. It's urban. Its vain. It crosses gender lines. It's... well, it's downright comfortable and versatile. 

If you're on a plane? You've got a blankie!

In the park? You've got a place to lay in the grass.

Cold? Drape it over the top of your head, like a hood. It really keeps you warm. 

I really like the look. Topped off with the right fedora? Or a porkpie hat? Provided you have the head shape and chin to carry it off? 

That's a striking look.

2/ Furniture

Make-Up Vanities

Remember those large, round mirrored make-up vanities that women had in the 1920's-1950's? 

They were so stylish. And romantic. The art deco-infused ones? Sleek perfection.

I think those should make a comeback.

I know we all don't live in McMansions, so it might be hard to give up that much space in the bedroom, but imagine one at the far end of a walk-in closet.

The little benches/stools varied quite a bit. But the vanity's overall design was quite consistent. I loved the little side drawers and the way the table in the center was lower than the sides. Whenever I see the in old movies, I simply melt.

They'd serve as a simple, rather inexpensive means of bringing class and a real sense of style into one's everyday routine.

3/ Transportation

Electric VW Bugs and VW Karmann Ghias

I love the overall design of both these vehicles. 

I was never so overjoyed when VW reintroduced their classic bug model and was very sad when it went away again. I had a 1974 bug in L.A. and adored that thing. I loved everything about it. It was fun to drive. And comfortable. It even smelled great. 

And I am amazed that the VW Karmann Ghia has never made a comeback. Talk about a sporty, but affordable car. It looks like much more expensive vehicles, while retaining a style all its own. Whenever I see one? I melt. They seem so romantic.

With the need to move from oil to electric, I think both these designs are the perfect, affordable way, to help expand that market share. People will want these vehicles. And it's more than nostalgia - it's because the design elements themselves are so very classic and classy.

I would also like VW to come out with a Herbie The Love Bug model. I think there's a definite market for that kind of nostalgia as well. Hell, maybe Disney could get into the auto industry? Would make for an interesting partnership (as much as I still dislike Disney.)

4/ Music or Movies

Murder Mysteries

When Knives Out came out, I was so excited. I adore a good murder mystery. 

Sadly, it came up a bit short. They had Jamie Lee Curtis on board and she was horribly underutilized. It was a great cast, but something was not right. Maybe if they'd filmed it in black in white?

But I miss a good old-fashioned murder mystery. No, I'm not the type that goes to those themed dinner things, though I do understand their appeal. I simply want to observe. I want to solve without having to actually be involved. 

Classic film noir, from the 1930's through 1950's frequently got it right. And even when the plot or acting seemed a bit ham-fisted, there was still that lovely cinematography to sustain the right mood. 

I'd love for that to become a new wave in cinema. It's simply begging for a bit of gender reversal or LGBTQ+ sensitivity to spice things up. 

Me? I'd be front row and center.

5/ Life

Summer

Oh, I know... it's way early to start bemoaning the dregs of winter while yearning for heat and sun. But then again, hey... it's me! You'll be listening to me whine, on and off, for the next six months.

This six months of damp, wet, freezing cold, dry air? No thank you. 

I know there are probably more practical things to wish for when it comes to life - like common sense, common courtesy, people taking responsibility, people being kind. Empathy. Civility. Perhaps an end to disease. World peace. An end to suffering. A healing of the planet.

However, the sense of decorum we gained during the Kennedy 'Camelot' years and the idealistic ideologies developed then? Decidedly absent.

There are all sorts of behaviors lacking in the United States; we are a damaged people. No... seriously. There is something seriously wrong with us. We're like a clogged toilet... yeah, I wouldn't try to flush it right now.

So, I tend to focus on things I can count on. Like the seasons of the year. 

Because - like everyone else? I like getting something I want, something I enjoy.

So, I'll focus on Summer. 

--- ---

And that's enough of me.

Okay, your turn. You know what to do. Leave your answers in the comments section. Get creative. Or, post them on your blog and leave a link here.

That's all for now.  Until next time...

Thanks for reading... and participating!

Sing It Back - Moloko




























Bring It Back - Lil Yachty

Monday, November 28, 2022

Acquired Tastes XLIII Gay Pulp Fiction, Part 126: Adonis Classics, Part 10 of 25

Acquired Tastes XLIII 
Gay Pulp Fiction, Part 126
Adonis Classics, Part 10 of 25

Greenleaf Classic Books, the publishers of  the Adonis Classics imprint, began in 1959 and continued until 1971, when management lost focus on the business as the government's prosecution for obscenity became a major concern.

By 1974,a new management team and staff were in place, operating out of an office at 7523 Raytheon Road in San Diego and production ceased on all existing imprints. In an attempt to break into mainstream markets, two new imprints were started which used cover art and titles that were not provocative. These efforts failed.

The year 1975 marks the end of  Greenleaf Classics' Vintage period. It is at this time, with the loosening of censorship laws, that the Adonis Classics imprint began production. It marks the end of Greenleaf Classic's Classic Age (1959-1975.) 

Adonis Classics would release a total of 252 titles during it's lifespan. 

The first twenty covers feature white backgrounds (with one exception) and colored drawings or black and white pencil illustrations. After the first two titles, a particular type-face was established, with the title appearing above the illustration. The distinctive Adonis Classics symbol was established with either the seventh or eighth title in the series.

After the first twenty titles, the imprint switched to their iconic red covers (though sometimes pink,) featuring a black and white illustration framed in a black circle which has an arrow attached - a universal sign designating something as 'male.' The book's title at the top of the cover is encased in a white circle with an arrow (the symbol for male.)

NOTE: It seems I will not longer be able to link to Hommi Publishing when we happen on a title Timon carries in his vast vintage gay pulp fiction library. According to Blogger rules, one cannot profit or link to a site that profits from porn! Now, if I wrote a post about a vacuum cleaner, apparently it would be okay to include a link to a site selling one... but a site selling PDF copies of vintage gay porn - a part of gay history - or a link to an artist's website - one who draws and sells illustrations of erotic males enjoying one another - is a definite no-no.

But... that's Blogger - and keep in mind - they host our blogs at no cost. So, while I will continue to mention that Hommi Publishing has a title available, I will no longer be linking to that website or the book itself - just to be on the safe side.

Okay, let's get back to the gay history of it all...

Today, we end up with only 60% - six out of ten covers found.

Heavy Hunk 
Author: F.W. Love
AC 191  

This one was just up for bid on eBay.

My word, check out that heavy package our dear lifeguard is sporting. I would love to hang on to that for dear life. And he seems so friendly and open. His parents must have taught him to share with others. 

--- ---

Beach Boy Bondage 
Author: Hal Clayton
AC 192 

Beach boys, huh? All blonde and sun-kissed. I can think of a few other things that might be kissed as well. Although, given that they run about the beach... best beware of crabs!

--- ---

Stud Cruise 
Author: Mark Hoffman
AC 193 

I miss cruising already. Sigh. The outdoor kind. I don't think I have the patience or the interest for the indoor kind. That's the problem with living in MN; you have six months of fun. 

Now, if this was about a cruise ship? I would also not be interested. I hear they can be a lot of fun - in the sauna, for example - but the idea of being trapped aboard a floating port-a-potty? Not my idea of a good time.

--- ---

Bondage Boys 
Author: Ed Downing
AC 194

Another nice package, though I might suggest he eat a sandwich. Yes, thin is in, but sometimes a little meat on the bones does a body good. I certainly would never allow myself in a similar situation. I imagine it gets boring after awhile... being bound like that. Plus, how do your arms not go numb?

--- ---

Daddy Stud 
Author: Jerry Tucker
AC 195

I have come to accept my daddy-hood. Yes, I am at that age. Someone commented on one of my pics on Grindr the other day. He said, 'hot ass.' And I said... 'Really? You think so?' And he said, 'Yeah, I'm really into Dad ass.' 

Sigh.

Well, one takes what one can get.

--- ---

Delivery Boy 
Author: Johnny Mann
AC 196 

The Boyfriend and I typically order in Asian food on Fridays. We're both too tired from our work week to cook, plus... we both have a crush on the delivery boy. He's so sweet. We tip him a little extra because he smiles. I just want to squeeze him. And then... maybe spank him. 

But I would never be so forward. I have seen videos of folks on XHamster and what-not trying to entice delivery boys, bell boys, and lawn maintenance men. I must say, I would never have the nerve. Of course, half of those videos are set-ups, but still... the idea is titillating. I would just never want to risk creating a #METOO moment. 

Louis CK,  I am not.

--- ---

Cruising Bar Buddies 
Author: Jason Tyler
AC 197 

Oh... picking up someone the old-fashioned way; at a gay bar. How quaint.

Last time I was at a gay bar, I had a hard time catching anybody's eye. Not because I wasn't looking good - but because their faces were buried in their phones. 

I think that's what gay bars have come to. No longer are they hot spots. Just... 

Wi-Fi Hot Spots.


--- ---

Back Lot Boy 
Author: Johnny Mann
AC 198 

When I think of a back lot, I think of old Hollywood studios and all the sets they used to build and reuse in film after film. I certainly don't think of cruising in a men's room. Well, I do, but not in terms of this book.

It takes a brave man to stand at a urinal with his pants down to his ankles. I always enjoy seeing pics of dudes doing it, and I know some farm boys who used to do it, too. But I don't have the nerve... or the ass, to pull it off these days!

Still, it's a good look.

--- ---

Stud Service 
Author: Johnny Mann
AC 199 

I recently got in a hot tub. It was so nice. They typically make my heart race, so I used to avoid them at the YMCA - well, the hot water and the men. Sigh. This time it was different. I actually got to enjoy it for ten minutes. It was heaven. 

And speaking of heaven, take a gander at that well-filled jock on Mr. Macho man front and center! I would love the opportunity to pound on those pecs.

And he can leave those boots on! Grrr.

--- ---

High School Buddies 
Author: Don Mullins 
AC 200 and HIS69-513

So, these do not appear to be high school students, but then... maybe they were held back a year or 12? 

They do have the one asset I have come to appreciate... a well-filled pouch. Sigh. I know this is just the stuff of fevered-J.O. dreams, but they sure do the trick for me. Add the locker room and some smelly football gear? 

Better than poppers, my dears!

And I don't say that about too many things!

--- ---

And that's all for now.

Next week: ten more scintillating Adonis Classics titles.

Until then...

Thanks for reading!

Beach Boy - BENEE

Sunday, November 27, 2022

Sunday Diva/Three From The Hip: Etta James

Sunday Diva/Three From The Hip: 
Etta James

In my own personal big gay church there is a wing dedicated to those who are truly unique and one of a kind. Their entire lives? Dedicated to one purpose... using their gifts to bring to life the musical vision only they can hear. One such fine example?

The omnipotent Etta James.

Her searing voice comes from an abyss within, touching our deepest chords, striking and resonating unlike any other.

Tapping into a well of emotion, she's a powerhouse of mercurial complexities, as likely to slap you as she is to offer comfort. 

A rebel with her pedal to the metal, her life was one big road trip, her drive insatiable. 

Oh, it got hard. To own such a gift? It weighed heavy upon her at times. 

But she persevered.

She had no choice.

She was born Etta James. 

And that's who she lived. 

For she could live no other. 

The gospel according to her?

Well, here are three from the hip, dropping from her lips.

The topic? Her Rebel Blues

"Even as a little child, I've always had that comedian kind of attitude."

"I was a sloppy kid, wanted to be just wild."
 
"I was originally like a punker, know what I mean, like the punks are today, I'd spit in a minute."

"I really turned into, you know, the real street kid. I was kind of like a runaway, but I had a mother, you know what I mean, and I had a place to stay."

"I'm not a braggart, but when I was a little girl people used to come from all over Hollywood to hear me sing."

"When I'm performing for the people, I am me, then. I am that little girl who, when she was five years old, used to sing at church. Or I'm that 15-year-old young lady who wanted to be grown and wanted to sing and couldn't wait to be smokin' a cigarette, you know?"

"They said that Etta James is still vulgar. I said, Oh, how dare them say I'm still vulgar. I'm vulgar because I dance in the chair. What would they want me to do? Want me to just be still or something like that? I've got to do something."

"Johnny Guitar... just one of my favorite singers of all time. I met him when we were both on the road with Johnny Otis in the '50s when I was a teenager. We traveled the country in a car together. I would hear him sing every night."

"Long as I was riding in a big Cadillac and dressed nice and had plenty of food, that's all I cared about."

"My mother used to play nothing but Billie Holiday."

"My mother was a jazz fanatic and she wanted me to play the piano so I could play jazz tunes. I wish I had learned but I was too busy getting into trouble!"

"Jazz took too much discipline. You have to come in at the right place, which is different than me singing the blues, where I can sing, 'Oh, baby,' if there's a pause in the melody. With jazz, you better leave that space open, or put in something real cool."

"Most of the songs I sing, they have that blue feeling to it. They have that sorry feeling. And I don't know what I'm sorry about."

"I figured I could do It's A Man's Man's Man's World, because I believe it's the truth."

"And as I started reaching deeper I realized that most of the blues of that day was done by men. Women just didn't have the nerve."

Something's Got A Hold On Me - Etta James

I'd Rather Go Blind - Etta James

At Last - Etta James

And one more parting shot...

"My mother always told me, even if a song has been done a thousand times, you can still bring something of your own to it. I'd like to think I did that."

"I sing the songs that people need to hear. I wanna show that gospel, country, blues, rhythm and blues, jazz, rock 'n' roll are all just really one thing. Those are the American music and that is the American culture."

"It's not about battling the original artists when I record these songs, it's about paying tribute to them."

"You can't fake this music. You might be a great singer or a great musician but, in the end, that's got nothing to do with it. It's how you connect to the songs and to the history behind them."

"That's where it begins and ends for me and these songs were the ones that touched me the deepest. It was like I was laying hold of some part of me that I didn't even know was there until I let it out."