Who Did It Better? We're All Alone

Who Did It Better? 

We’re All Alone 

Today, we're taking a look at a classic ballad from the mid-seventies; a song which got plenty of attention upon it's initial release, but was not released as a single by the artist who wrote it and first recorded it. Instead, it would wind its way through the careers of six other artists before landing in Billboard's Top Ten and becoming an international hit. 

We're All Alone is a song written by Boz Scaggs. It initially appeared on what is considered his breakthrough album, Silk Degrees. Released on February 18, 1976, the album would produce a number of Top 40 hits, however, We're All Alone would not one of them, as it was relegated to the B-Side of his hit, Lido Shuffle. However, in Australia Scaggs issued the song with Lowdown as the flip to become a double A-side chart entry which reached #54 in 1977. This would mark the only time the song charted under Scaggs' moniker.

A bit of trivia: In a 1976 interview with Creem magazine, Scaggs mentioned that Michael Jackson had cut a version of We're All Alone. However, as of this writing, that recording has yet to see the light of day.

Frankie Valli recognized the hit potential of the song, recording it for his 1976 Valli album and releasing it as its lead single. In August of 1976, his version had peaked at #78 on Billboard's Hot 100, while reaching #27 on the Adult Contemporary Chart. It experienced similar success in Canada. In July of 1976, he released it as a single in the U.K.

In October of 1976, The Walker Brothers, a group  Scaggs' has cited as a formative influence, released the song as a single from their Lines album in the U.K., where it failed to chart. However, ten months later, in August 1977, it did manage to reach #22 in the Netherlands.  

The Three Degrees recorded a version for their album Standing Up For Love. They released it as a single in the UK in March of 1977. That same month, stateside, country western singer La Costa (Tanya Tucker's sister) would release We're All Alone, reaching #75 on Billboard's Country chart. It would also be included as the B-Side on her cover of Smoky Robinson's chestnut, I Second That Emotion, which was released as a single in the U.K.

La Costa was not the only sibling of a famous singer to record the song and release it as a single. In Canada, Bruce Murray (Anne Murray's brother) managed to crack the Top 40 with his version of the song. However, it got knocked off the charts the moment Coolidge's version began its ascendency. 

In 1977, it was suggested to Rita Coolidge that she record the song. Coolidge had worked with Scaggs on two of his prior albums, not only providing back-up vocals, but also directing and arranging all the backing vocals for both albums.

According to Coolidge, "When I was with A&M Records, it was like a family. I would visit Herb Alpert and Jerry Moss, and it was a very open, communicative group of people. One day I was in Jerry Moss' office and he said that the Boz Scaggs album, Silk Degrees, was in a million homes and there was a song on it that was perfect for a woman to sing. He said, 'It's called We're All Alone and as he's not doing it as a single, I think you ought to record it.'"

It was Coolidge's slow southern charm that did the trick, as hers would prove to be the bestselling version of them all. 

Issued as the second single from her 1977 Anytime,.. Anywhere album, We're All Alone would hit #7 in the U.S. that September. It was the third time the song had been released as an A-Side in the U.S. In addition it managed to out perform La Costa's version on the Country chart, reaching #68, and grabbed the #1 spot on the adult contemporary chart.

In the U.K., where it was released as the lead single from the album, hers would be the fourth time the song had been released as an A-Side in that country. Even so, her version struck pay dirt, snagging the #6 spot in August 1977. It would also reach #6 in Ireland, #15 in the Netherlands, #32 in Australia and #34 in New Zealand. In Canada, it took the #5 spot on their pop chart and #1 on their adult contemporary chart.

And that's the whole story.

Now? On to the competition...

The Song: We're All Alone

The Competitors: Scaggs vs. Valli vs. The Walker Brothers vs. The Three Degrees vs. La Costa vs. Murray vs. Coolidge

We're All Alone - Boz Scaggs

We're All Alone - Frankie Valli

We're All Alone - The Walker Brothers

We're All Alone - The Three Degrees

We're All Alone - LaCosta

We're All Alone - Bruce Murray

We're All Alone - Rita Coolidge

Boz Scaggs

Seven is a lot of versions to slog through. I'll try to keep it brief, but you know me... blah, blah, blah. I mean, if they didn't want me to write a lot then they shouldn't have put so many letters on my damn keyboard.

Scaggs vocals are hooded and odd sounding, not the stuff hit ballads, at the time, were made of. I love the piano that opens it; very simple, sweet. The moment he moves into his head voice, it ceases to work for me. It's like Kermit The Frog singing. I say that, and I love Boz Scaggs... adore his whole catalog. This is a lovely song, but this is not the best version. The arrangement, on the other hand? Rather stellar. I like that it doesn't become leaden, that he sustains momentum by working the rhythmic qualities found in the lyrics and the piano - there's a quiet syncopation which propels this one forward. 

By the time he gets to that chorus, he's in his element. I also love that they keep that piano up in the mix. Yes, his vocals are on top of everything, but the piano is given enough of an emphasis so that a definite interplay exists between the two. I do wish the strings were a bit more subtle. By the second chorus they are competing too much. And that heavy back beat emphasis gets old quickly, too. Some messy percussion there. And I really dislike it when the strings take over completely. That is schlock with a capitol 'S', for sure. He sure tops out his range... not helping things at all. I like the piano at the end. 

Frankie Valli

Interesting piano intro. Not the sort of thing that worked on AM radio, though, so I can see why this didn't get more airplay. Valli sounds great. A bit nasal, but that's part of his charm. I like the first verse, some nice interpretation happening there on "forever more, forever more." 

And he has me until "waves." What in the world? No one speaks like that unless you're doing Jerry Lewis as the Nutty Professor.  So, why would you sing it like that? The piano gets a little 'schticky,' but his vocals immediately return to their former quality. What was he doing with "wave" and "cave?" Boggles the mind. 

I think he has a lovely voice. The chorus feels rushed. I wish he'd taken more care with it. I dislike what they're doing with the back beat. Very lounge singer, to have your guitarist hit it like that. Blech. Very lazy arranging. Oh, I like that piano lick they get in there as we move to the second chorus. Is that a French horn? Odd, but in the mix enough that it isn't competing with Valli, so it works. 

Oh, badly timed key change. Ridiculous string arrangement. Then he goes Cinemascope on us... interesting move. I was liking this up until the key change. I was so hoping he would come back soft and small after the break. Instead... full orchestra, like a curtain call. Though, I must say, I actually like his vocals when he returns. He's great, but this arrangement? 

The Walker Brothers

The vocals are very schizophrenic. And odd. Creepy odd. I like the piano, I like the arrangement on the first two verses. That cymbal tap is annoying. Their vocals are very 'Vegas.' The piano playing reminds me of Tim Moore. 

I think the arrangement and production work are fine, except for that annoying cymbal tapping during the choruses. Their vocals are an acquired taste. A bit old school and very quirky. 

So the boys are done at the 3:11 mark. Why then are we subjected to over 80 seconds of instrumental? Naw.

The Three Degrees

Murky synths. Interesting choice. Moving like Jaws through the water. Her voice is an absolute pearl. The delivery is a little cloying, but there is no mistaking - she is a vocalist in control of her instrument. Second verse is very Shirley Bassey. Terrible, terrible harp transition. And terrible, terrible arrangement. Period. As we go into verse three I was thinking they were going to go all Barry White funky, but nope... schlock. Total schlock. 

Awww... second chorus, when all three sing together... that's nice. Not the arrangement. But the ladies sound great. But it doesn't last. They fall apart quickly. And then... a saxophone. Because...??? Why not.

So, I wish they had settled on a style before they began constructing this. It's like a house with a few too many rooms tacked on the outside of the original structure, paying no heed to scale or aesthetics.

La Costa

That chime like keyboard is such a classic sound. She's one of those singers who pulls her notes back - something Crystal Gayle is the queen of and uses to great effect. Yes, Crystal Gayle, whose sister is Loretta Lynn, just like Tanya Tucker's is La Costa's. 

Huh, in the second verse she comes into her own... she has a lovely voice. It was rather tentative there, at the beginning. I do wish that slide guitar would shut the 'F' up. I dislike anything that competes with a singer. What was that? A whale? I wish she wasn't getting buried by this mucky arrangement and mix. 

I really like her voice. It's full of sunshine, naturally. Very refreshing. Weird bass bubbling up out of nowhere. The bass is too busy and that electric rhythm guitar is annoying. Then they don't give her a chance to come back? Bah. I think she's lovely. This arrangement and production work? Crap. Utter garbage. Lazy, lazy, lazy. It's like the session players are on autopilot and nobody bothered to match the arrangement to the singer's style. And yes, she's a bit green, but that's part of her charm. They should have worked with that. 

Bruce Murray

To begin a song with a sustained string like that - a single note? Risky. The format of the 45 is notoriously unstable and subject to wavering. Is there really an icicle effect on top of the vocal at the beginning? Oh, dear. He has a pleasant enough voice. Great tone. Could use more personality. I like what they were doing with the strings on the first verse. He gets swamped by the arrangement on the second verse. Very strange pronunciation of "long" - it sounds like he's singing "lung." 

He has a nice variety show voice. Those drums sound like cardboard boxes. The arrangement is by the book. Mucky, cheap sounding production work. I could do without the heavenly choir. I have no idea what he's doing with that ending. Odd. And then terrible. Just terrible. 

Rita Coolidge

That intro is straight out of Dan Fogelberg 101. Did... they... multi-track her lead vocals? There is so much percolating beneath her. That is one busy arrangement. Still, the over all tones compliment her vocals, so it works. It's a synth mimicking a French horn?

Her delivery is very relaxed. Comforting. Notice, she doesn't get hung up on "wave" and "cave." Hers is a very straightforward reading, and surprisingly bright sounding. 

I still can't decide if her vocals have been treated with an aural exciter (yes - there is such a thing and it was all the rage at the time - see Olivia Newton John) or if they multi-tracked her lead. It's a very assured reading buttressed by the full, warm fuzziness of her voice. 

Oh, dear. Catch the tiny Hammond organ chord that that comes underneath as we transition into verse three. Eek. A mellotron synth lead. Eek. Oh, good, it goes away.

Listen to how they're bringing in that organ - very subtly, as we move into something more organic sounding, more southern in flavor.  

Those aren't drums, those are fingernails tapping glass. Odd sound choice.

Yep, they go total southern comfort... the acoustic piano on top of that bed of organ... the rhythm section clicking along. A very smart move. It serves the song well, and it serves the singer's style, too. And that guitar solo... a perfect match. 

This just soars and soars until it fades away.. 

Weird sounding drums, though.

Verdict

Yeah, Coolidge ended up with the hit because her producers recognized that this was not a Barry Manilow song. They stuck with the southern flair that Boz Scaggs brought to his early work. Some of the synths haven't aged well, but they go out with a classic combination, (Hammond organ and acoustic piano) so it's all good. And Coolidge sounds great. So assured. Interpretation doesn't really enter into it, because it's such a straightforward reading. Whatever... it works. 

The rest? I mean, I see what Scaggs was going for with his version, but he didn't have the vocal chops to accomplish it. 

It's too bad that La Costa didn't get a more empathetic arrangement... I rather like her voice.

And Frankie Valli does well, with a few minor exceptions. Too bad about that key change and that big screen Hollywood ending. 

The reason Coolidge's version works so well? It's a perfect match... singer, song, and arrangement. Bringing in that Hammond organ while the acoustic piano provides a bit of syncopation... brilliant move. I still have trouble with the production, but it all ends well, and that's what counts.

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Okay, that's more than enough of me. Your turn. You know what to do. Let me know what you think; leave your thoughts in the comments section.

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

Thanks for reading... and listening!

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Bruce Murray sang back up for his famous sister, Anne and would  go on to become a college professor. I'm including this video of him on The Mike Douglas Show because... he was rather dreamy looking, in that blond, curly-haired 1970's way, wasn't he? Not my type, but I understand the appeal.

We're All Alone - Bruce Murray

on The Mike Douglas Show

Who Did It Better? I Don't Know How To Love Him

Who Did It Better? 

I Don't Know How To Love Him

This song seeped into the public's consciousness back in 1970, as part of the Jesus Christ Superstar concept album by a then relatively unknown Andrew Lloyd Webber and his partner in crime, Tim Rice. This was a studio project that would later be adapted for the stage and a movie. A very British recording, it instantly took off stateside. This was because at the time Jesus Freaks were a huge thing; they were sort of religious hippies, if you will. 

Those involved in the movement were convinced that Jesus was the original hippy and that we should all live by his example. It was all very vanilla-Xtian gooble-gobble speak and the Catholic Church, surprisingly, got right on board.  

I remember singing this song on a regular basis as part of mass with the youth choir. My Mom even bought the album and it was the soundtrack for many a Saturday as we cleaned house. 

In the show, the song is sung by Mary Magdalene, who is comforting an emotionally wrought and physically exhausted Jesus. Funny thing is, the song's original singer, Yvonne Elliman, thought she was hired to play Mary, as in, Jesus's mother. So the seductive, sensual nature of the song puzzled her quite a bit, but she went with it. Recorded in one take in June of 1970, it is considered one of the emotional cornerstones of this particular 'rock opera'.  

Yvonne Elliman, at that point, was primarily known for being Eric Clapton's backup singer. The song and subsequent show would help launch her solo career. 

As far as singles go, Andrew and Tim decided to go with Murray Head's bombastic Superstar first. However, once they got wind that a relatively-unknown singer named Helen Reddy had recorded a version which was winding it's way up the charts in the spring of 1971, Decca/MCA rush released Elliman's version. Reddy's version would peak at #13 on the Billboard's Hot 100, while Elliman's rose as high as #28. It would mark the beginning of both women's recording careers in the states.  

As you listen to Reddy's version, keep in mind what was going on in her life at the time. Her husband, Jeff Wald had very slowly become the successful manager of Deep Purple and Tiny Tim. During his climb, Helen had supported the duo and daughter Traci. But in light of his new success, she'd had it and had given him an ultimatum - either he put more effort into advancing her career, or they were over. 

Wald began calling Capitol records, several times a day, trying to drum up interest in Reddy. He became something of a nuisance and they told him that if promised to stop calling, they would allow Reddy to record a single. The A-side was to be the Mac Davis favorite I Believe in Music, with I Don't Know How To Love Him relegated to the B-side. The A-side flopped, but DJs in Canada began flipping the single over and playing I Don't Know How To Love Him. It caught on and by June of 1971, was a hit in the states, as well.

In the UK, early in 1972, Decca issued a double-sided single featuring Head's Superstar and Elliman's I Don't Know How to Love Him in response to a version of the song released by Petula Clark. However, neither version met with much success, both peaking at #47 on the British charts.  

Incidentally, it should be noted that the song was originally published as Kansas City, back in the fall of 1967. Given new lyrics, the song became part of Webber and Rice's 'rock opera'. 

Well, those are the facts... so, let's get to it.

The Song: I Don't Know How To Love Him

The Competitors: Yvonne Elliman vs. Helen Reddy vs. Petula Clark

I Don't Know How To Love Him - Yvonne Elliman

I Don't Know How To Love Him  - Helen Reddy

I Don't Know How To Love Him - Petula Clark

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Yvonne Elliman:

There's something 'hooded' about Elliman's vocals, but it works well here. I also love the ache she brings to the song. It's a very straight-forward reading, a bit strident at times. Her vocals are incredibly strong and clear, however, her tendency to lean heavily into the vowel sounds, scooping, actually, strikes me as odd on occasion. But she is a vocalist of the times. With the exception of the scooping, this is how vocalists were taught to sing. 

The arrangement certain doesn't get in the way during the first two verses. Even the deep percussion added during the first build remains subdued. This is truly about Elliman's vocals and she brings a lot of power to the bridge, the slight breaks in her voice revealing an emotional authenticity. By the third verse, she alters the tone of the song. A kind of anger seeps in. She's dismissive, anguished. It inadvertently reveals a lovely lift in her upper range. 

The strings swell up and consume the second build with Elliman reentering the mix at its emotional pinnacle with a despairing cry. It's a wonderful musical moment, theatrical and artfully done. Well done.

Helen Reddy:

This is so unlike Reddy. She enters with a whisper. It feels a tiny bit rushed, but surprisingly intimate. I do like the simple piano accompaniment; she sounds great with it. She doesn't become strident until the second verse. Some of her trademark vocal tics begin to appear and by the first build as her signature clipped vocals take over. The dismissive lilt she brings to the third verse is almost snide, but works well. Listen to her tiny trill during 'calm' and 'cool'. It's as lovely as it is rare. 

Sadly, the song's arrangement fails us once we hit the second bridge. In comparison to the grandiosity of Elliman's version, it sounds rather silly. What is that instrument? Flute/clarinet, flitting in and out beneath? Makes me cringe. Like a lace doily on a Knoll Wassily chair. Very TV Movie of the Week. 

The build hits its release with Helen bringing emotionally appropriate vocals, however they  get swamped by the mix. Too bad they didn't pull all accompaniment at that exact moment, allowing Helen's voice to carry the day. It would have been extremely dramatic, naked... and righted the ship in the process. (Does Reddy's over enunciation of the 't' at the end of 'about' bug anyone else?) The addition of backing vocals... ugh. Not needed. Thankfully, they are short-lived. But that clarinet thing returns and the way she flits the 'ur' sound on 'turn' bugs me. I am glad her vocals are the focal point again, but then those backing vocals return.. ugh. Not needed. 

Reddy's vocals have their moments, but the instrumentation has not aged well, and the arrangement somewhat ruins the whole thing.

Petula Clark:

Okay, Petula's version is very, very different. The lady spent some money and got herself an old-school arrangement. I could do without the Superstar opening, but it is rather cool the way her vocals move up to the surface and meld into the actual song. There's a lovely tone to her voice. Pure. Clean. However, she also keeps pulling her sound; it feels clipped and coy. Hers is a performance piece, not an emotional reading. She might as well be singing 'Alfie', which I suspect is what they had in mind here, for nothing about this arrangement or reading speaks to the times. Clark seems stuck in 1968 variety show mode. 

The orchestra and backup singers enter the mix far too early in the song and much too forcefully. Plus, she dares to mess with the timing on the build... and loses miserably. Aside: this is an absolute NO; songwriters hate this sort of thing - it rarely works and it certainly does not here!  I am rather done with the whole recording by the mid-point. I can't imagine what other horrible things they could do to it. Let's trudge on through...

It becomes very theatrical with the delayed "what's it all about". I do hope she listened to this recording, fired everybody and got new management. This could have been a turning point in her career... had she simply sang the song. Instead, she's overburdened herself with mawkish orchestration and an overly complicated reading. "I-aye-aye ye-am the one." Oh, dear. don't make me write more. "Running every show...", is she suddenly a German chanteuse? What is that? Then Superstar returns and she goes into rock(?) mode? I dunno. This is some mighty fine corn they got growing in that there Britain place. Mmm hmmm.

I... I am aghast. Clark has a lovely voice and some fine chops. But this... is an absolute train wreck. Is it funny in a campy way? I would have to listen to it again to determine that... and that? That is not happening, folks.

The Verdict:

This belongs to Elliman. I enjoy the simplicity and straight-forwardness of her version. When the strings take over, it's appropriate, theatrical and thrilling. I find her performance to be unencumbered, fresh and authentic. Maybe doing it all on the first take is the way to go? 

I do like Reddy's version. It reveals a softness to her that I find appealing. But she's done in, as is Clark, by a wrong-minded arrangement. Clark... poor, dear. Hers is a most tortured reading. It's a testament to her talent that she somehow keeps the thing on the tracks.  

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Your turn. 

What did you think? Hear? 

Let me know in the comments section. I love to hear the perspectives of others, especially since I know that many of you are avid music lovers. Tell me what you think. What you feel!

That's it for this week. We are rapidly running out of possible candidates for this series. I've got about four or five left. 

If you know of a song with competing versions, please leave your suggestions in the comments section. Or, we may adapt the series to include cover versions...? I dunno. Let me know what you think.

Thanks for reading.

Who Did It Better? One Night in Bangkok

Who Did It Better? One Night in Bangkok

Well, this is a bit much to chew. Let's get to it.

Actor/singer Murray Head is no one-hit wonder. Back in 1969, he hit #14 on Billboard's Hot 100 with the titular song from the Andrew Lloyd Webber and Tim Rice concept album (and eventual stage musical and movie), Jesus Christ Superstar. Many movies and albums later, his next (and only other) hit was a song from the Tim Rice (again), Benny Andersson and Björn Ulvaeus (ABBA) concept album (and eventual stage musical) Chess. Recorded in 1984, the exotically frenetic, One Night in Bangkok was released as a single on February 23, 1985, it would peak at #3 on Billboard's Hot 100 (March 20, 1985) and become a world-wide hit, reaching #1 in seven countries, culminating in it being crowned #1 on the European Chart.

If you wish to get a sense of Mr. Head's acting chops, skip the film version of Jesus Christ Superstar and check out a little movie titled Sunday, Bloody Sunday (1971) featuring amazing turns by Glenda Jackson, Peter Finch, and Peggy Ashcroft. If you wish to have your gay card for life, this is required viewing. And now... 

Robey. 

Robey who?

Well, if you ever stayed up past your bedtime on a Saturday night in the late 1980's, you may have stumbled on a little syndicated television show called Friday the 13th. It had nothing whatsoever to do with the movie series, but was all about strange artifacts and supernatural happenings. Robey had the lead and, due to her sassy ways, quite the cult following. The series cranked out 70 episodes in four years (1987-1990). Before that?

Canadian-born Louise Robey is/was a model/singer/actress. Shortly after graduating high school she was discovered poolside in the French Rivera and signed to a modeling agency. As a model, she appeared in Paris Match (nude) and Vogue Paris. Stateside, she earned a cool $5K a day - yes, a day! - as a runway model and appeared in campaigns for Revlon, Maybelline, Clairol and Jordache. 

She also dabbled in music and, in 1984, was signed as 'Robey' to Silver Blue Records in Canada. She released six singles from her debut album and one of them stuck. Her version of One Night in Bangkok (recorded in 1984, mixed by Shep Pettibone!) was released at the same time as Murray Head's version, entered the charts at #80 the week after Murray's version, and managed a three-week stint on Billboard's Hot 100 in March of 1985, peaking at #77. It fared much better on the dance charts, reaching #5 on Billboard's Club Play Chart weeks before Murray's version became a success.

You would think that would be enough for one lifetime, but, not for Robey. One evening in 1993, she attended a lecture given by the current Earl of Buford, regarding one of his relatives, The 17th Earl of Oxford. In December of 1994, the two wed and she became Louise, Countess of Buford. She gave him a son in 1995 and divorce papers in 2001. Her most recent single was 2013's Take It To The Top. The single debuted at #87 on iTunes' U.S. Dance Chart.

So, now you've got the dirt. Let's dig in.

The Song: One Night in Bangkok (from Chess).

The Competitors: Robey vs. Murray Head

Seeing as these are both from the golden age of MTV, I implore you to take a look at the video versions. Hers is a scream. Very cheeky. His? Well, he had a much bigger budget.

Also... ladies first.

One Night In Bangkok - Robey

One Night in Bangkok - Murray Head

"I get my kicks above the waistline, sunshine..."

Oh, if that were true, my life would have turned out so differently!

That's an iconic line, and one of the reasons I admire this song. In fact, I adored the Chess concept album. Since the musical had not been born on the stage, I could sit and imagine what it would look like; how it would be staged, costumed and choreographed. And my version had little in common with the tortured version that eventually limped its way to Broadway. Pity.  It's the storyline's fault. It peaks at the wrong time, leaving the audience with an unsatisfying ending (much like Camelot). But the music is a marvel to behold. The duet, I Know Him So Well? Divine. One can absolutely imagine Agnetha and Frida conjuring gold with it. Some of the music is a bit stilted... dramatically and musically, but overall, Chess, the concept album, remains an intriguing listen.

Skip the OCR and the Indina Menzel/Josh Groban concert versions. Blech.

As for One Night in Bangkok... 

The real battle here is between Shep Pettibone and the ABBA boys. In the late 80s, production was king.

Robey's version feels slight and under-cook and, while her diction is impeccable, she lacks the muscle needed to ground this to the dance floor. Her beats are not as big or propulsive as needed. Perhaps Shep Pettibone (Madonna) was in a hurry? Given all that, I do find it charming. Her clipped delivery and subtle wryness work well. I fault the arrangement, the production and the mix. It sounds cheap. A bit under-cooked.

Murry Head's is not the floor-pounder I remember. At the time, I thought the production was a miracle of science and the future of music. Now? Meh. But that's what happens as recorded music ages... sometimes the passing of time flatters and sometimes it exposes weaknesses. Listening to this in the present, I find the production a tad dull. It feels weighed down and drags a bit. Still, it is the better of the two. The ABBA boys have managed to spread their magic all over this, giving it some major punch, which is why it was such a big hit. 

The Verdict:

I have to hand this one to Murray. His is the more substantial production. The real meat. Robey's feels like a tad of a novelty in comparison. Fun. But more of a curious artifact than the real McCoy. 

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Alright. Your turn. I love to hear the opinions of others... so hit me with it. Leave your thoughts in the comments section.

That's all for now.

Tune in next week for the next installment. I hope to keep this going for a bit more. If you have some suggestions, leave them in the comments section as well. Keep in mind that cover versions are not eligible. Competing versions only. The versions need to have been released within a reasonable time (a year?) of one another. 

Until then...

Thanks for reading.

One Night in Bangkok - Vinyl Shakerz

One Night in Bangkok - Murray Head / Robey

(Vita Retro Remix)

Of Note: ‘More Than A Feeling’ by Breanna Rubio

Of Note: ‘More Than A Feeling’ by Breanna Rubio

Hailing from Denver, CO, Breanna Rubio was discovered in 2014 at a Big Talent Showcase in Orange County, CA.  She’s been a very busy girl ever since.

Her first single, ‘Fly Alone’ (feat. Fat Joe and D.One), had no trouble breaking into the Top 25 on Billboard’s Dance Club Play Chart.  And ‘More’ seems to be having no trouble following in its footsteps, as it is currently sitting at #15.

A truly solid dance track, ‘More Than A Feeling’ slinks by on a chunky surge of synths, while Rubio’s vocals are as sweet as they are smooth. 

Currently a Sophomore at Colorado State University, Breanna sings the national anthem at many sporting events and is a headliner at concerts and local coffee shops in Fort Collins. 

  

Of Note: ‘Generate’ by Eric Prydz

Of Note: ‘Generate’ by Eric Prydz

Oh, my… how time flies. 

In 2004, Eric Prydz ‘Call On Me’ which sampled Steve Winwood’s classic ‘Valerie’ was inescapable.  Two years later, the same was true of his ‘Proper Education’ which sampled Pink Floyd’s ‘Another Brick In The Wall’.  Folks, we are talking about worldwide smashes! 

Both are still in my CD collection and on my Gen 1 IPod. 

Mr. Prydz has enjoyed numerous club hits and has been releasing music on the three labels he owns: Pryda, Pryda and Friends, and Mouseville, since 2002. 

‘Generate’ finds him in classic form.  There’s a bit of the grandiose, sterile, ghost in the machine, atmospherics of classic U2, or, perhaps, more so, classic Styx or The Alan Parsons Project. 

It’s repetitive, for sure, and, for some, that is enough to damn it.  That’s why I would suggest sticking with the radio edit, rather than the seven minute plus full-length version. However, with the radio edit clocking in at 2:45, it serves as the perfect palate cleanser. 

All those icy synths.  Brrrrr… it’s like living in a world made of stainless steel.

‘Generate’ is currently sitting at #9 on Billboard’s Dance Club Play Chart, after having peaked at #8.. 

  

  

Of Note: ‘Caution Tape’ by Starling Glow

Of Note: ‘Caution Tape’ by Starling Glow

Starling Glow (Liz Hill) is a relative newcomer, having only been on the scene as an artist since 2013.  Her music casts a wide net, including alternative, pop, rock, dance, and electronica.  She writes her own material and has a knack for seemingly insightful lyrics wrapped up in a healthy serving of pop du jour. 

Her first single, ‘We Are Infinite’ peaked at #19 on Billboard’s Dance Club Play Chart.  She has since released her self-titled debut album and a second single, the propulsive, slyly knowing ‘Caution Tape’.

It’s Dave Aude’s remix work that makes this track click and Ms. Hill’s vocals are all the better due to his atmospherics.  The song itself is good, but Aude supplements something lacking in the original with his surging electronics. He did a similar job on ‘We Are Infinite’. 

I love the builds and the chunky synths as much as I love the subject matter. 

Personally, I like the idea of someone ‘discovering’ someone – revealing the good that lies in another person, despite the risk of rejection.  Redemption can come at the hands of another – their bravery and the effort spent when reaching out to someone who is living in self-imposed emotional exile on a psychological island of sorts demonstrates to the person being rescued that something of value lives there.  

Something the other would rather not live without.

Recluses are frequently high quality people.  They’re simply a bit more prickly, no doubt still licking their wounds, stinging from life’s bitter lessons. In that state of mind, it’s so easy to reside alone, to get set in one’s ways. It takes a very brave soul to break down those walls in the hope of proving that life is more worthwhile in the company of others.

It isn’t always successful.

But it is certainly an admirable and worthwhile effort.

Of Note: ‘Invincible’ (7th Heaven Radio Mix) by Kelly Clarkson

Of Note: ‘Invincible’ (7^th Heaven Radio Mix) by Kelly Clarkson

Who doesn’t love Kelly Clarkson?  She’s real.  She’s relatable.  She can sing just about anything. In a way, she’s America’s sweetheart.

Sure, she’s had her battles: Clive Davis (he is kind of a dick), body-issues (when you can sing like Kelly, who cares), and indifferent material (ummm, yeah)… but all that only makes her even more lovable. The most divisive the lady has ever been is when she voices her choice for the presidency. 

 ‘Invincible’, is merely the latest in a long line of likable, easy to digest, upbeat singles issued forth by Ms. Clarkson and her handlers.  Singles that come easily, sound pretty much the same, and fade into radio memory fairly quickly.  They’re the musical equivalent of Twinkies, but with a shorter shelf life.

One could argue that those life-empowering anthems hold great personal meaning to many a listener.  One could argue that her songs reflect Ms. Clarkson’s own personal struggles.  You could argue that, but – given history (both that of pop music’s and artists like Ms. Clarkson) – you’d be wrong. Someone sets them up, and she, with her incredible pipes and unerring sense of pop smarts, knocks them out of the park.

Not that there’s anything wrong with delivering up sugary slices of pop-infused sponge cake.  Nor is there anything really wrong with the term ‘Secretary Rock’, although it is frequently used in a sexist manner, typically only referring to upbeat music performed by female artists.  Me?  I think of acts like Train, when that term comes to mind.

I keep thinking that Kelly is going to come into her own someday. 

And that day, is today.

With the completion of her contract with Mr. Davis, the lady is on her own – she has the opportunity to call her own shots.  Will she?  She loves to sing songs written by others and even made popular by others.  Her in-concert covers demonstrate a breadth, cleverness and a talent for recognizing great material.  Not all singers are meant to write their own material.  I have an inkling Ms. Clarkson falls into that category.  And there’s nothing wrong with that.

For years now, Kelly has clocked in and done as told, singing the soon to be Top 40 staples crafted for her by the folks at her label.

So, what now, brave voyager? 

Country music?  You’ve demonstrated that you like to dabble.  You toured with your mother-in-law, Reba.  You did a duet with Jason Aldean. It seems your voice would lend itself nicely to that sort of country-pop, perhaps bringing a level of talent to the whole genre.

Or, are you happy being the Kelly Clarkson you’ve worked so hard over the years to develop? 

No matter what you do – you will succeed, because America’s got your back, kid.

And America has never really had an American Sweetheart age without falling off that pedestal (Amy Grant springs to mind.)

Avoid being shrill.  You can afford to sing songs without resorting to the very top of your register every time.  You’re not Jessie J.  You’re not Arianna Grande.  You’re not Katy Perry.  You’re Kelly Clarkson.

Avoid being angry.  America is full of anger.  We don’t need any more.

Ummm… and avoid that whole goth thing.  (See ‘My December’ – the only time you ever asserted yourself.)  That didn’t turn out very well, now did it?  But you’re older and wiser now. 

So, America holds its collective breath.

Who will Kelly be?

‘Invincible’.

Indeed.