Category: Favorite Songs

My Favorite Song for Every Year, Part 1: 1955-1979

On By EclecticMusicLoverIn Favorite Songs40 Comments

Just for fun, I thought I’d do a series of posts listing my favorite songs for each year starting with 1955, when many music historians claim the so-called “rock era” began, as well as the first full year of my life, to the present. There were so many tremendously great songs, especially from about 1964 through 1973, it was a real challenge to pick just one for each year. That said, this listing will provide a sort of snapshot of my life, at least in terms of the music I’ve loved over the years. I’ve written in some detail about many of these songs in previous posts over my eight-plus years of blogging, so won’t write lengthy narratives about any of them here. Just the year, the song and the artist, followed by one sentence and the best video I could find for each one. Enjoy!

1955 ROCK AROUND THE CLOCK – Bill Haley & His Comets

Often considered to be the first big rock’n’roll hit song that set the standard for many to come.

1956 MOONGLOW & THEME FROM “PICNIC” – Morris Stoloff

A sublime melding of an old standard and the score from one of the best films of the 1950s.

1957 LITTLE DARLIN’ – The Diamonds

A rather silly, over the top song I foolishly thought would be fun to sing karaoke to back in the 1990s. Boy was I wrong, as I humiliated myself!

1958 AT THE HOP – Danny & the Juniors

Just a delightfully upbeat rock’n’roll song celebrating the joys of youth and going to a dance, that always makes me happy.

1959 MACK THE KNIFE – Bobby Darin

A great, sophisticated classic by one of the finest singers of his time.

1960 THEME FROM “A SUMMER PLACE” – Percy Faith

A bit overly sentimental and cheesy, but my favorite instrumental track of all time.

1961 RUNNING SCARED – Roy Orbison

A short, but emotionally powerful song by one of the greatest male vocalists of all time.

1962 ONLY LOVE CAN BREAK A HEART – Gene Pitney

Few songs are as overwrought as this one, but I love Gene Pitney’s heartrending vocals and the lush orchestration.

1963 BE MY BABY – The Ronettes

The Mt. Rushmore of Phil Spector’s wall of sound production, and a stellar performance by the great Ronnie Spector and Co.

1964 SHE LOVES YOU – The Beatles

An exuberant love song by the greatest band ever, and one of my all-time favorites of their many incredible songs.

1965 (I CAN’T GET NO) SATISFACTION – The Rolling Stones

Though grossly overplayed over the many years since its release, I still love this song and its biting lyrics.

1966 CALIFORNIA DREAMIN’ – The Mamas & The Papas

Their vocal harmonies were exceptional, the lyrics simple yet profound, and oh my, that gorgeous flute! My third-favorite song of all time.

1967 LIGHT MY FIRE – The Doors

It’s the extended album version, showcasing Ray Manzarek’s spectacular organ riff, that makes this my second-favorite song of all time.

1968 HEY JUDE – The Beatles

It goes on a bit too long, but a great song nevertheless.

1969 AQUARIUS/LET THE SUNSHINE IN – The 5th Dimension

I remember how much my mother loved both “Hey Jude” and this song by the fabulous 5th Dimension.

1970 BRIDGE OVER TROUBLED WATER – Simon & Garfunkel

A stunning masterpiece that slowly builds to a stirring crescendo.

1971 IT’S TOO LATE – Carole King

An understated yet powerful song that perfectly encapsulates the painful reality of a break-up.

1972 STAIRWAY TO HEAVEN – Led Zeppelin

What can I say about this monumental tour-de-force by one of the greatest hard rock bands of all time? It’s remained my favorite song for the past 50 years.

1973 DANNY’S SONG – Anne Murray

This lovely cover by Anne Murray of a sweet Kenny Loggins song just resonated with me for some reason, and I adore it.

1974 LOVE’S THEME – Love Unlimited Orchestra

I’ve always been a sucker for lush, cinematic instrumentals, and this one by Barry White and his Love Unlimited Orchestra is one of my favorites.

1975 I LOVE MUSIC – The O’Jays

The greatest Disco song ever in my opinion, by one of the finest R&B bands to come out of Philadelphia in the 1970s. It could also serve as my own theme song!

1976 LOVE HANGOVER – Diana Ross

Once again, it’s the extended version of this song by one of the greatest female vocalists of all time that makes this a favorite of mine. I can’t remember how many times I danced to this.

1977 DREAMS – Fleetwood Mac

My favorite song by one of my all-time favorite bands, “Dreams” strongly resonated with me as I went through a painful breakup at the time.

1978 STAYIN’ ALIVE – Bee Gees

Though technically not a Disco song, “Stayin’ Alive” nevertheless came to represent the entire genre and all that was both great and bad about it. That said, it’s a perfect song.

1979 DO YA THINK I’M SEXY? – Rod Stewart

I know many fans of Rod Stewart absolutely hated this song, but I loved it the moment I heard it, and never grew tired of it.

EML’s Favorite Songs – “Where Did Our Love Go” by The Supremes

On By EclecticMusicLoverIn Favorite Songs17 Comments

The Supremes were one of my favorite music acts of the 1960s, and I remember that, even as a kid, I really loved their songs. Even my mother loved them. Still the most successful American group of all time, the Supremes (well, Motown Records, really) released an astonishing 29 studio albums, four live albums, two soundtrack albums, 32 compilation albums, four box sets, 66 singles and three promotional singles. They’re ranked the 26th greatest artist of all time on the U.S. Billboard charts, with 12 #1 songs on the Hot 100 (still the fifth-best total in the chart’s history), and three #1 albums. One of my very favorite of their many great songs is “Where Did Our Love Go“. It was their first single to reach #1 on the Hot 100, where it spent two weeks on top in August 1964, and the first of five consecutive #1’s.

Before we get to the song, I’ll provide a bit of background. Initially formed as the Primettes in 1959 – a sister act to the Primes (made up of Paul Williams and Eddie Kendricks, who went on to form the Temptations) – the group consisted of Florence Ballard, Betty McGlown, Mary Wilson and Diana Ross, all of whom had grown up in the Brewster-Douglass public housing project in Detroit. In 1960, they released a single “Tears of Sorrow”, with “Pretty Baby” as the B-side, which failed to chart, and later that year, Barbara Martin replaced McGlown.

Determined to become part of the Motown family, the Primettes frequented the Hitsville U.S.A. recording studio. They eventually convinced Berry Gordy to allow them to contribute hand claps and background vocals for the songs of other artists like Marvin Gaye and Mary Wells. He signed them to his Motown label in January 1961, on the condition they change their name. From a list of names he gave them, Florence Ballard chose “the Supremes” and the rest, as they say, is history. Martin left the act in the spring of 1962, and the remaining trio of Ballard, Wilson and Ross became the Supremes who would go on to stardom. (Wikipedia)

“Where Did Our Love Go” was written by Motown’s main songwriting and production team of Holland–Dozier–Holland with the Supremes in mind. At first, the three ladies of the Supremes didn’t like the song, claiming it sounded too “kiddie-ish” (which I find preposterous!), and wanting something with a stronger hook. Also, Holland-Dozier-Holland argued over who should sing lead. Though the song had been written in the same key as Wilson’s voice, the lead vocal was ultimately assigned to Ross, with Wilson and Ballard singing backing vocals. After hearing a playback of the recorded song, an excited Ross had a change of heart, whereupon she rushed into Gordy’s office and told him to come listen to their song. After hearing it, a satisfied Gordy proclaimed that “Where Did Our Love Go” was going to be a top ten hit. He was correct, but it became an even bigger hit than any of them had imagined.

The marvelous instrumentals were played by Motown session musicians the Funk Brothers. The notable highlights for me are the simple, yet impactful, piano-driven groove played by Earl Van Dyke, the bold hand claps and foot stomps performed by Mike Valvano, and that wonderful baritone sax solo in the bridge by Andrew “Mike” Terry. Diana Ross’s sensual vocals have a heartrending vulnerability as she laments of a love affair that seems to be slipping away:

Baby, baby
Baby don't leave me
Ooh, please don't leave me
All by myself

I've got this burning, burning
Yearning feelin' inside me
Ooh, deep inside me
And it hurts so bad

You came into my heart
So tenderly
With a burning love
That stings like a bee

Now that I surrender
So helplessly
You now wanna leave
Ooh, you wanna leave me

Ooh, baby, baby
Where did our love go?
Ooh, don't you want me
Don't you want me no more
Ooh, baby

Baby, baby
Where did our love go
And all your promisses
Of a love forever more

I've got this burning, burning
Yearning feelin' inside me
Ooh, deep inside me
And it hurts so bad

Before you won my heart
You were a perfect guy
But now that you got me
You wanna leave me behind
(Baby, baby) ooh baby

Baby, baby don't leave me
Ooh, please don't leave me
All by myself

Ooh, baby, baby
Where did our love go?

The song was later covered by Donnie Elbert in 1971, The J. Geils Band in 1976 and Soft Cell, in a medley with “Tainted Love”, in 1981.

RIP Tina Turner

On By EclecticMusicLoverIn Commentary, Favorite Songs18 Comments

I was very sad to learn of the death of the legendary Tina Turner today, at the age of 83. She was truly one of a kind, with a rich and smoky powerhouse voice that inspired countless other artists and earned her millions of fans around the globe, me included. She was a courageous and great lady, and always a class act.

In honor of her passing, I’m reposting this 2020 article I wrote about Tina’s iconic song “What’s Love Got To Do With It”.

EclecticMusicLover's avatarECLECTIC MUSIC LOVER

Tina Turner

It’s been a while since I’ve posted one of my Favorite Songs, so thought I’d get back into the groove with my favorite Tina Turner song “What’s Love Got to Do With It“. Not only is it one of my favorite songs of all time, but Tina is also one of my all-time favorite female singers. And quite honestly, who doesn’t love Tina! One of the best live concerts I’ve ever seen was Tina Turner on her What’s Love? Tour in September 1993 (with Chris Isaak opening for her at the Cal Expo Amphitheatre in Sacramento, California).

Born Anna Mae Bullock in Tennessee in 1939 (hard to believe she’s now 80!), Tina Turner lived part of her rather troubled childhood (thanks to dysfunctional parents) in the town of Nutbush (which she immortalized in her 1973 hit “Nutbush City Limits”), but moved to St. Louis when she was 16…

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EML’s Favorite Songs – “Barely Breathing” by Duncan Sheik

On By EclecticMusicLoverIn Favorite Songs16 Comments

The other day my singer-songwriter friend Jake, aka The Frontier, shared a clip of himself playing an acoustic version of the Duncan Sheik song “Barely Breathing” on social media, which reminded me of how much I love it. Not only is it a great song both musically and lyrically, but wow, what a heartthrob Sheik was at the time! The pleasing but melancholy song was written and sung by Sheik, who also played acoustic and electric guitars, E-Bow and piano, with Pino Palladino on bass, Jean-Michel Biger on drums, and Fran Banish on slide guitar. The track was produced by Rupert Hine, who also played percussion and sang backing vocals.

Released in May 1996, a few weeks in advance of his self-titled debut album, the song was a sleeper hit. After languishing in the lower reaches of the Billboard Hot 100 for several months, “Barely Breathing” finally peaked at #16 in early 1997, and went on to spend an astonishing 55 consecutive weeks on the chart, ultimately ranking #18 on the Hot 100 year-end chart for 1997. It fared better on some other charts, reaching #1 on the Adult Alternative chart, #2 on the Adult Top 40, and #12 on the Canadian RPM Top Singles chart. It was also ranked number 88 on VH1‘s list of 100 Greatest Songs of the ’90s. The song ranks among my personal top 10 favorite songs of 1997, as well as one of my top 100 songs of the 1990s.

The lyrics describe the feelings of a guy who has finally come to realize that his girlfriend’s manipulative and disingenuous displays of emotion do not equal love. He beats himself up for being so naive (“Must have been that yesterday was the day that I was born”), and knows he has to leave the relationship before he suffocates.

I know what you're doing
I see it all too clear
I only taste the saline
When I kiss away your tears

You really had me going
Wishing on a star
The black holes that surround you
Are heavier by far

I believed in your confusion
So completely torn
Must have been that yesterday
Was the day that I was born

There's not much to examine
There's nothing left to hide
You really can't be serious
If you have to ask me why
I say goodbye

'Cause I am barely breathing
And I can't find the air
Don't know who I'm kidding
Imagining you care

And I could stand here waiting
A fool for another day
I don't suppose it's worth the price
It's worth the price, the price
That I would pay, yeah yeah, yeah

Everyone keeps asking
What's it all about?
I used to be so certain
Now I can't figure out

What is this attraction?
I only feel the pain
There's nothing left to reason
And only you to blame
Will it ever change?

'Cause I am barely breathing
And I can't find the air
Don't know who I'm kidding
Imagining you care

And I could stand here waiting
A fool for another day
I don't suppose it's worth the price
It's worth the price, the price
That I would pay, yeah yeah, yeah
But I'm thinking it over anyway
I'm thinking it over anyway

I've come to find
I may never know
Your changing mind
Is it friend or foe?

I rise above or sink below
With every time
You come and go
Please don't come and go

'Cause I am barely breathing
And I can't find the air
Don't know who I'm kidding
Imagining you care

And I could stand here waiting
A fool for another day
But I don't suppose it's worth the price
It's worth the price, the price
That I would pay, yeah yeah, yeah
But I'm thinking it over anyway
I'm thinking it over anyway

Well, I know what you're doing
I see it all too clear

Sheik received a Grammy nomination for Best Male Pop Vocal Performance for “Barely Breathing”, but lost to Elton John for his song “Candle In The Wind 1997.” It was his only song to chart, however, he’s had a long and successful career as a composer of music for plays, musicals and movie soundtracks. Some of his major works include original music for the 2002 New York Shakespeare Festival production of Twelfth Night, the music score for the film A Home at the End of the World in 2004, the score for the film Through the Fire in 2005, and the music for the Broadway musical Spring Awakening, for which he won the 2006 Tony Awards for Best Original Score and Best Orchestration. More recently, he wrote the music for the 2019 Lynn Nottage musical The Secret Life of Bees, an adaptation of the 2002 novel by Sue Monk Kidd, with lyrics by Susan Birkenhead.

“Till There Was You” – from “The Music Man” to The Beatles

On By EclecticMusicLoverIn Favorite Songs27 Comments

I watched the film The Music Man last night on Turner Classic Movies, and was reminded of how much I love the song “Till There Was You”, both the version sung by Shirley Jones in the film, and the later cover by the Beatles. After reading a post by Randy of MostlyMusicCovers blog for yet another blog PowerPop, about the Beatles’ song “Ain’t She Sweet”, I decided to write a post about “Till There Was You”.

The Music Man, which along with Singin’ in the Rain is my favorite movie musical, began as a stage musical written by Meredith Willson. The show opened on Broadway in December 1957, and became a huge hit, running for 1,375 performances and winning five Tony Awards, including Best Musical. The film version, released on June 19, 1962, also went on to become one of the biggest films of the year and was nominated for six Academy Awards, including Best Picture. (I still remember seeing it in the theater as an 8-year old kid, and loving it.) The film’s composer Ray Heindorf won the film’s sole award for Best Music, Scoring of Music, Adaptation or Treatment.

Both stage musical and film were directed by Morton DaCosta, with actor Robert Preston playing the title role of the charming traveling salesman and con artist Professor Harold Hill both on stage and in the film. The film also starred the stunning Shirley Jones as town librarian Marian Paroo, along with Buddy Hackett, Paul Ford, Hermione Gingold, Pert Kelton, and a young Ronny Howard. 

“Till There Was You” appears late in the musical and film, when Marian reluctantly agrees to meet Harold at the footbridge during the ice cream social, a big event in the small town of River City, Iowa where the story takes place (the footbridge was a spot where couples met for romantic encounters). After having previously spurned all of Harold’s attempts to woo her, Marian makes a 180-degree turn with regard to her feelings about him, telling him how much he’s come to mean to her, which she expresses in the song. Jones had a beautiful singing voice, which earlier had landed her coveted roles in the film musicals Oklahoma! and Carousel (she also won a Best Supporting Actress Oscar for portraying a prostitute in the 1960 film Elmer Gantry), and her rendition of the song is deeply moving and heartfelt.

Turn your speaker volume up for this movie clip, then be sure to turn it back down for the Beatles’ version:

The Beatles version was produced by George Martin and recorded at Abbey Road Studios in July 1963. It was released that November in the UK as part of their second album With the Beatles, and was also included on their American debut album Meet the Beatles!, released in the U.S. in January 1964 (it was the first album I ever bought, as a 9-year old besotted with the Fab Four). It was the only song from a Broadway musical ever released by them. For the recording of the song, Paul McCartney sang vocals, accompanied by George Harrison and John Lennon playing acoustic, classical guitars in a Spanish style over a bolero bongo beat played by Ringo Starr. I like how Paul sings “soar” in place of “saw” in the lyrics.

Interestingly, Paul first heard “Till There Was You” from a 1961 cover version by Peggy Lee, when it was played by his older cousin Bett Robbins. He said that he “had no idea until much later” that it was from The Music Man. The song was part of their pre-recording repertoire in 1962, and they performed it at the Star Club in Hamburg. Also, Meredith Willson’s widow later remarked that her husband’s estate eventually received more income from the royalties of the Beatles recordings of “Till There Was You” than it originally received from the actual play. (Wikipedia)

There were bells on a hill
But I never heard them ringing
No, I never heard them at all
'Til there was you

There were birds in the sky
But I never saw them winging
No, I never saw them at all
'Til there was you

Then there was music and wonderful roses
They tell me in sweet fragrant meadows
Of dawn and dew

There was love all around
But I never heard it singing
No, I never heard it at all
'Til there was you

Then there was music and wonderful roses
They tell me in sweet fragrant meadows
Of dawn and dew

There was love all around
But I never heard it singing
No, I never heard it at all
'Til there was you
'Til there was you

EML’s Favorite Songs – “Heartbeat City” by The Cars

On By EclecticMusicLoverIn Favorite Songs12 Comments

I was a pretty big fan of American rock band The Cars during their heyday that lasted from 1978-88. Formed in Boston in 1976, they consisted of Ric Ocasek (rhythm guitar), Benjamin Orr (bass guitar), Elliot Easton (lead guitar), Greg Hawkes (keyboards), and David Robinson (drums). Ocasek and Orr shared lead vocals, and Ocasek was the band’s principal songwriter and leader. Emerging from the late-70s new wave scene, they were among the bands who were instrumental in merging 70s guitar-oriented rock with the newer synthesizer-oriented pop that became dominant in the early to mid 80s.

I love many of their great songs, including “Drive”, “Shake It Up”, “Just What I Needed”, “My Best Friend’s Girl”, “You Might Think” and “Magic”, and one of my favorites of them all is the gorgeous title track from their brilliant fifth album Heartbeat City (which also contains “Drive”, “You Might Think” and “Magic”). That album, which was produced by legendary music producer Mutt Lange, is filled with so many fantastic songs, it could almost be a ‘greatest hits, volume 2’ album for The Cars. I bought it when it came out, and nearly played it to death. I still cherish my vinyl copy.

“Heartbeat City” was released as the album’s sixth and final single in September 1985, a year and a half after the album’s March 1984 release. Shockingly (to me at least), the single did not chart in the U.S., though it did reach #78 in the UK and #75 in Australia. I suppose the album and string of singles had probably run their course by then. Interestingly, prior to its release as a stand-alone single, “Heartbeat City” was the B-side to “You Might Think” in the U.S. and “Why Can’t I Have You” in the UK.

The song is a sonic feast for the ears, opening with ominous industrial synths that are soon joined by a pulsating, reverby guitar line. The music then expands with a powerful hypnotic drumbeat, accompanied by a thumping bassline, beautiful chiming and jangly guitar notes and magical atmospheric synths, while that pulsating guitar line continues throughout the song. It all serves to create an enchanting soundscape for Ric Ocasek’s distinctive vocals as he plaintively sings of a woman named Jacki who went away, but made him happy when she eventually returned to Heartbeat City: “I’m glad you made it. I can’t complain. I missed you so badly when you jumped that train. Oh Jacki, what took you so long, on just a holiday. I thought you knew the way.” The ethereal backing vocal harmonies are sublime, adding to the song’s overall captivating sound.

EML’s Favorite Songs – “Don’t Wanna Fall In Love” by Jane Child

On By EclecticMusicLoverIn Favorite Songs6 Comments

I was reminded about the great song “Don’t Wanna Fall In Love” by Canadian singer-songwriter Jane Child the other day when my friend Dale tagged me in a tweet about it. The song was released in January 1990 as the second single from Child’s self-titled debut album Jane Child, and was a huge hit, spending three weeks at #2 on the Billboard Hot 100 that April (it was kept from the top spot by Tommy Page’s “I’ll Be Your Everything” and Sinead O’Connor’s “Nothing Compares 2 U”). I’ve always loved the song, which is one of my top 10 favorite tracks of 1990.

Child’s rather quirky fashion style back then, which included a hairstyle that was spiked on top with ankle-length braids, along with a rather imposing nose chain piercing, was inspired by her love for African and East Indian cultures, as well as the punk movement. Child wrote “Don’t Wanna Fall In Love” shortly after having relocated from New York City to Los Angeles. The song, along with all the tracks on Jane Child, was solely written and produced by Child, who also sang all the vocals and played all the instruments, except for the guitar parts. Well, she does a superb job, crafting an exuberant synth-driven soundscape built around an irresistible head-bopping groove. Her powerful, emphatic vocals are fantastic, adding more fuel to the song’s exhilarating combustible vibe.

Child has stated that this was not intended to be a happy love song, but more a reflection on the Freudian concept of the pleasure vs. pain principle, generally defined as the instinctive seeking of pleasure and avoiding of pain to satisfy biological and psychological needs. (Wikepedia) In the lyrics, she sings to a man who drives her wild with sexual and romantic desires, while insisting that she’s going to resist his powerful charms to protect her own well-being.

Ain't no personal thing, boy
But you have got to stay away
Far, far away from my heart, my heart
Don't you know what your kiss is doing
Let me tell it to you from the start, boy

I don't wanna fall in love, no, no
Love cuts just like a knife
You make the knife feel good, baby
I'll fight you to the end, baby

You've been hanging around boy
And you have started sinking in
Ooh baby, you're way out of line now
Unaware how this all got started
Let me tell it to you one more time, boy

I don't wanna fall in love no, no
Love cuts just like a knife
You make the knife feel good, baby
I'll fight you to the end

I don't wanna fall in love no, no
Love cuts just like a knife
You make the knife feel good, baby
I'll fight you to the end

I learned something about myself
Last night with you I knew
I didn't want nobody else
And your scaring me to death now, baby

I don't wanna fall in love no, no
Love cuts just like a knife
You make the knife feel good, baby
I'll fight you to the end

Fresh New Tracks, Vol. 18 – Black Bear Kiss, The Metal Byrds, Tough on Fridays

On By EclecticMusicLoverIn Favorite Songs13 Comments

Given my hiatus from writing reviews (notwithstanding my recent 30-day song challenge), it’s been over three months since I’ve written a Fresh New Tracks post. Now that I’m feeling more rested, I’ve decided to dip my toes back into the turgid waters of review-writing, steadfast with determination going foward to not allow myself to become overwhelmed or burned out. With that in mind, today I’m featuring new songs by three great bands I’ve previously written about on this blog – British rockers Black Bear Kiss, and two female-fronted rock bands from Texas, The Metal Byrds and Tough on Fridays.

BLACK BEAR KISS – “Chasing All I Know”

Black Bear Kiss have been a favorite of this blog for over four years, since June 2018 when I reviewed their terrific debut single “Hooks”. Over the succeeding four years, they’ve released a number of fine singles, most of which I’ve also reviewed. With their exhilarating, guitar-driven rock sound, strong charisma and rowdy live performances, they’ve built a loyal following in their home base of the West Midlands/Shropshire region of England and beyond. In June of last year, the band was shaken by the tragic and sudden passing of one of their guitarists Rob Jones from a previously undisclosed heart ailment. Now soldiering on as a four-piece, Black Bear Kiss consists of Chris Leech on lead vocals, Colin Haden on guitar, Rich Sach on bass, and Chris Bagnall on drums.

To honor Rob, as well as to help raise funds for Cardiac Risk in the Young (CRY), a charity aimed at raising funds for cardiac screening, research and the support of families affected, the band released a single “The First Time” this past February. Now they return with their latest single “Chasing All I Know“, which was one of Rob’s favourite songs. The track was recorded at the iconic Foal Studio in Wales, with Rob’s cousin Mike playing rhythm guitar using Rob’s own Gibson Les Paul. About the song, band vocalist Chris Leech explains: “We all have different pressures in our lives. This track is about feeling like you’re at the centre of everything and trying to get back to a place or feeling that you know – it’s also got some grunt which is what we are all about!” Black Bear Kiss delivers their signature driving rhythms we’ve come to love and expect, overlain with roiling riffs of grungy guitars and thumping drumbeats. Leech’s expressive vocals sound better than ever as he fervently sings “There’s all these people standing by my side. I just want you to tell me it’s alright. I’m at the center of it, I’m chasing, I’m chasing all I know now, whoa.”

Follow Black Bear Kiss:  Facebook / Twitter / Instagram

THE METAL BYRDS – “Vicious Circle”

The Metal Byrds are a female-fronted rock band based in Austin, Texas, who play a hard-hitting style of rock, infused with healthy doses of rock’n’roll and power pop, along with enough metal in the mix to give their songs a dark, edgy quality. Formed in 2018, the band has undergone a few personnel changes, and now consists of founding members London-born singer-songwriter Suzanne Birdie and guitarist Sly Rye, along with bassist Mac Jacob and drummer Charlie Breeze. Over the past three-plus years, they’ve released three EPs – The Song Byrd in April 2019, Byrds on a Wyre in June 2020, and Life in 20 in October 2020 (which I reviewed) – and an album simply titled 4, in September 2021. On July 15th, they released “Vicious Circle“, the lead single from their forthcoming album BIRDIE LANE, due for release later this year. 

The song is an exhilarating banger, driven by a hard-charging rhythm, courtesy of Mac’s brilliant chugging bassline and Charlie’s pummeling drums. Sly lays down an aggressive onslaught of gnarly riffs, highlighted by a blazing guitar solo in the bridge. And Suzanne’s powerful, resonant vocals are in fine form as she fervently wails the lyrics describing the torture of insomnia, keeping her awake with worries and anxiety that she’ll never be able to sleep: “Here we go again, a vicious circle. Can’t get it started. Round and around again.” It’s a fantastic song, and I think it’s one of their best yet. The wonderful video shows Suzanne suffering the agonies of insomnia, interspersed with rather humorous scenes of her bandmates performing the song while on her bed, adding to her sleepless misery.

Follow The Metal Byrds: Facebook / Twitter

TOUGH ON FRIDAYS – “Growing Pains”

Hailing from Georgetown, Texas, not far from Austin, grunge pop-rock trio Tough on Fridays have been on an upward trajectory since forming in 2017. Now consisting of Caleigh Oceguera on vocals & guitar, Carly Fairchild on bass & vocals, and Chris Schreck on drums, they’ve garnered an enormous base of loyal fans through their memorable music, relatable lyrics and high-energy live shows. Blending elements of indie, alt-rock, pop and grunge, they create their own unique style of edgy rock ‘n roll. Since 2017, they’ve released numerous singles and EPs, which culminated in the release of their outstanding debut album A Fantastic Way to Kill Some Time, in September 2020 (my review has been viewed more than 1,100 times, making it the fourth most-viewed album review I’ve written.)

In the two years since, they’ve released several singles, the latest of which is “Growing Pains“, which dropped August 15th. The song has a pleasing folk-rock vibe, highlighted by Caleigh’s lovely strummed guitar work, while Carly and Chris keep the lively rhythm on their bass and drums. The subtle piano keys are a nice touch, adding to the song’s melodic sound. Caleigh’s slightly echoed vocals have a vulnerable quality, providing a rather melancholy undercurrent to the track as she plaintively sings the lyrics directed to a former loved one that she’s moving on from the relationship: “Growing pains. Sick of hearing how I’ve changed. Cause I’ve outgrown you, I don’t need you. Cause I’m pulling all your weight. Done cleaning up the mess you’ve made. You always made./ Am I bitter? Just feeling better.” It’s a wonderful, beautifully-crafted and masterfully-arranged track that nicely showcases Tough on Fridays’ continued growth and musical maturity.

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30 Day Song Challenge, Day 30 – “Brighter Days” by Jamie Alimorad

On By EclecticMusicLoverIn Favorite Songs10 Comments
Photo by Mikhail Goldenberg

Well, I’ve reached the end of my 30-day Song Challenge, and the subject for Day 30 is “A song that gives you hope“. There have been many wonderful songs of hope and inspiration released over the years, but I’ve chosen a more recent song, “Brighter Days” by Los Angeles-based singer-songwriter Jamie Alimorad. Jamie is a talented, hard-working and charismatic guy who I’ve been following for about three years, and I’ve written about him twice, most recently this past January when I reviewed his marvelous single “Give a Little Lovin'”. “Brighter Days” is taken from his excellent 2019 album This Is Tomorrow Calling, which I also reviewed.

The song has a breezy, upbeat groove and an infectious dance beat, with a bit of a country-rock vibe thanks to twangy guitars and some great vocal harmonies. Jamie has a terrific singing voice, and does a fine job conveying his earnest message of not letting our problems and worries overwhelm or defeat us, and trying to remain positive in the belief that things will get better. A phrase in one of the lyrics is used for the album’s title, and really encapsulates its overall theme of love and resilience. “When living’s hard and you think you’re better off dead, this is tomorrow calling, there are brighter days ahead.” 

The walls are closing in
It's getting hard to breathe
Thinking of cashing in my chips
Don't have an ace up my sleeve
But I hear a little voice inside me say
Before I go and throw it all away

When it rains it pours
Such as the weatherman said
This is tomorrow calling
There are brighter days ahead
When living's hard
And you think you're better off dead
This is tomorrow calling
There are brighter days ahead

I look at my reflection
All I see are broken dreams
But I hear a voice say look a little deeper
It ain't what it seems

There's a light behind a house full of scars
Crack the shell and find out who you really are
When it rains it pours
Such as the weatherman said
This is tomorrow calling
There are brighter days ahead
When living's hard
And you think you're better off dead
This is tomorrow calling
There are brighter days ahead

In the darkness there's a heaviness that ways me down
I moan like a rescue dog in the lost and found
No one in this stormy world to turn to
Except for that little voice like a patch of blue

When it rains it pours
Such as the weatherman said
This is tomorrow calling
There are brighter days ahead
When living's hard
And you think you're better off dead
This is tomorrow calling
There are brighter days ahead

The video for “Brighter Days” was filmed as a live performance and mini-documentary at the American Foundation for Suicide Prevention’s Out of The Darkness Walk in Santa Monica on October 19, 2019. More than 2,200 people and 200 teams participated in the walk.

To learn more about Jamie, visit his Website
Connect with him on:  Facebook / Twitter / Instagram
Stream his music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Amazon 

30 Day Song Challenge, Day 29 – “I Can’t Make You Love Me” by Bonnie Raitt

On By EclecticMusicLoverIn Favorite Songs9 Comments

The subject for Day 29 of my 30-day Song Challenge is “A song that breaks your heart“, and there are few songs I can think of that are more heartbreaking than “I Can’t Make You Love Me” by the legendary Bonnie Raitt. Aside from the death of a loved one or a beloved pet, unrequited love is probably one of life’s most painful experiences. Many of us – me included – have been in romantic situations where someone we loved did not feel the same toward us, and vice versa. And sometimes, our guilt from the pain we’ve caused by not loving someone who loves us can feel almost as bad as not having our love returned by another.

“I Can’t Make You Love Me” was co-written by Nashville country music songwriters Mike Reid and Allen Shamblin, who took many months and numerous rewrites until they were happy with the song. In an interview with Peter Cooper for the Nashville Tennessean, Shamblin remarked: “We wrote, most every week, in Mike’s basement, and we’d worked on this song for more than six months. One day, he said, ‘Come up to the living room,’ where his piano was. He sat down and started playing this melody, and it was one of the most moving pieces of music I’d heard. I mean, it hit me in a hard way … Instantly, I knew it was the best thing I’d ever been a part of.”

They originally wrote the song as a fast, bluegrass number, but upon slowing the tempo down considerably, they realized the song became even more powerful and compelling. They had three artists in mind for the song – Bonnie Raitt, Bette Midler and Linda Ronstadt – with Raitt eventually winning out. She recorded the song for her eleventh studio album Luck of the Draw (1991), with both song and album co-produced by Raitt and record producer Don Was. She recorded the vocal in just one take, later saying that the song was so sad that she could not recapture the emotion: “We’d try to do it again and I just said, ‘You know, this ain’t going to happen.‘” (Wikipedia)

Over a sparse soundscape of gentle instrumentals, highlighted by a beautiful piano accompaniment by Bruce Hornsby, Raitt sings of the heartache of unrequited love with a sad, understated resignation, while maintaining her own self respect.

Turn down the lights
Turn down the bed
Turn down these voices inside my head
Lay down with me
Tell me no lies
Just hold me close, don't patronize
Don't patronize me

'Cause I can't make you love me if you don't
You can't make your heart feel something it won't
Here in the dark, in these final hours
I will lay down my heart and I'll feel the power
But you won't, no you won't
'Cause I can't make you love me, if you don't

I'll close my eyes, then I won't see
The love you don't feel when you're holding me
Morning will come and I'll do what's right
Just give me till then to give up this fight
And I will give up this fight

'Cause I can't make you love me if you don't
You can't make your heart feel something it won't
Here in the dark, in these final hours
I will lay down my heart and I'll feel the power
But you won't, no you won't
'Cause I can't make you love me, if you don't

The song was a fairly big hit for Raitt, reaching #18 on the Billboard Hot 100 and #6 on the Adult Contemporary chart. It also reached #4 on Canada’s Adult Contemporary chart.

And here’s her stunning performance of the song, with Bruce Hornsby on piano, at the 1992 Grammy Awards