Tag: Country

30 Day Song Challenge, Day 23 – “Ode to Billie Joe” by Bobbie Gentry

On By EclecticMusicLoverIn Favorite Songs10 Comments

The subject for Day 23 of my 30-day Song Challenge is “A song that tells a story“. I feel confident in stating that just about everyone loves songs that tell a story, as they’re often very compelling, reeling us in as their lyrics unfold, and keeping our attention all the way to the end. Some of the great “story” songs that come to mind are “El Paso” by Marty Robbins (which I wrote about in 2019, and is my 8th most-viewed post ever), “Harper Valley P.T.A.” by Jeannie C. Riley, “A Boy Named Sue” by Johnny Cash, “Me and Bobby McGee” by Janis Joplin, “Stairway to Heaven” by Led Zeppelin, “Taxi” by Harry Chapin, “The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot, and “Stan” by Eminem. But the one I’ve chosen is one of the very best – “Ode to Billie Joe” by Bobbie Gentry. I remember loving it as a 13-year old back in 1967.

My 45 single of “Ode to Billie Joe”

Bobbie Gentry wrote “Ode to Billie Joe” with the intention of having Lou Rawls record it. But after Capitol Records producer Kelly Gordon received her demo for her song “Mississippi Delta”, he liked it and asked her for a B-side that could be released on a single. She then recorded a demo of the song, with just her vocals accompanied by an acoustic guitar, in February 1967. Gordon liked her vocals on the demo, but decided to add an instrumental arrangement to the recording. He enlisted Jimmie Haskell (a composer and arranger for both motion pictures and an array of popular artists, including Elvis Presley, Neil Diamond, Crosby, Stills & Nash, Steely Dan, Billy Joel, and the Everly Brothers) to prepare a string arrangement with four violins and two cellos. Haskell felt the song sounded like it could be from a film and decided to write the arrangement with a more cinematic feel, as if it were a score. Gordon then overdubbed Gentry’s recording with the haunting string arrangement, and decided that “Ode to Billie Joe” would be the A-side of the single, with “Mississippi Delta” as the B-side.

The song was written in the form of a first-person narrative, told by the young daughter of a rural Mississippi Delta family, and sung by Gentry. It features perfect rhymes from the first to the sixth line of every verse and, unlike most songs, contains no chorus. The lyrics tell the story of the family’s reaction to the news of the suicide of Billie Joe McAllister, a local boy to whom the daughter (and narrator) is connected. The song quickly became popular upon its release in July 1967, because it created curiosity in listeners, leaving them wondering what the narrator and Billie Joe threw off the Tallahatchie Bridge, and what caused Billie Joe to commit suicide. In numerous interviews, Gentry clarified that she intended the song to portray the family’s indifference to the suicide in what she deemed “a study in unconscious cruelty”, while she remarked the object thrown was not relevant to the message.

In an August 1967 interview with the Los Angeles Times, Gentry compared the song to a play, and said she wanted to show “people’s lack of ability to empathize with others’ tragedy“. She pointed at the mother, noticing but not understanding her daughter’s lack of appetite, while later in the song, the daughter seems unable to fully grasp the similarity of her mother’s behavior after the father dies. Gentry explained that both characters had “isolated themselves in their own personal tragedies“, and remained unconcerned for the others. Regarding the object thrown off the Tallahatchie Bridge, she commented that people had found more meanings than she had intended, such as “a baby, a wedding ring, or flowers“, among other things. While she indicated that what happened at the bridge was the motivation behind Billie Joe’s suicide, she’d intended to leave that open to the listener’s interpretation, adding that her sole motivation was to show “people’s apathy“. (Wikipedia)

“Ode to Billie Joe” was a big hit, spending four weeks at #1 on the Billboard Hot 100, and also reaching #1 in Canada. Surprisingly, it peaked at only #17 on the Country chart. The song was also nominated for eight Grammy Awards, with Gentry and arranger Jimmie Haskell winning three between them, and later adapted for the 1976 film Ode to Billy Joe.

It was the third of June, another sleepy, dusty Delta day
I was out choppin’ cotton, and my brother was balin’ hay
And at dinner time we stopped and walked back to the house to eat
And mama hollered out the back door, y’all, remember to wipe your feet
And then she said, I got some news this mornin’ from Choctaw Ridge
Today, Billie Joe MacAllister jumped off the Tallahatchie Bridge

And papa said to mama, as he passed around the blackeyed peas
Well, Billie Joe never had a lick of sense; pass the biscuits, please
There’s five more acres in the lower forty I’ve got to plow
And mama said it was shame about Billie Joe, anyhow
Seems like nothin’ ever comes to no good up on Choctaw Ridge
And now Billie Joe MacAllister’s jumped off the Tallahatchie Bridge

And brother said he recollected when he, and Tom, and Billie Joe
Put a frog down my back at the Carroll County picture show
And wasn’t I talkin’ to him after church last Sunday night?
I’ll have another piece-a apple pie; you know, it don’t seem right
I saw him at the sawmill yesterday on Choctaw Ridge
And now ya tell me Billie Joe’s jumped off the Tallahatchie Bridge

And mama said to me, child, what’s happened to your appetite?
I’ve been cookin’ all morning, and you haven’t touched a single bite
That nice young preacher, Brother Taylor, dropped by today
Said he’d be pleased to have dinner on Sunday, oh, by the way
He said he saw a girl that looked a lot like you up on Choctaw Ridge
And she and Billie Joe was throwing somethin’ off the Tallahatchie Bridge

A year has come and gone since we heard the news ’bout Billie Joe
And brother married Becky Thompson; they bought a store in Tupelo
There was a virus going ’round; papa caught it, and he died last spring
And now mama doesn’t seem to want to do much of anything
And me, I spend a lot of time pickin’ flowers up on Choctaw Ridge
And drop them into the muddy water off the Tallahatchie Bridge

New Song of the Week – Matlen Starsley Band: “Makin’ Good Time”

On By EclecticMusicLoverIn Reviews6 Comments

Hailing from beautiful Vancouver, Canada, the Matlen Starsley Band are a five-member collective of seasoned and accomplished musicians who came together in mid-life to recapture some of the energy and passion that got them into the music business to begin with, and in the process create some great music. Comprised of Dennis Matechuk (lead vocals), Kevin Star (guitar & vocals), Don Lennox (bass & vocals), Jim Wesley (drums) and Darryl Hebert (keyboards, guitar, accordion & vocals), all are either former or current members of the Bryan Adams Band, The Ray Roper Project, Bad Moon Riders, Touchdown, Fandango, and Bad Allen and the Muscle Cats. Collectively, they’ve played thousands of shows in venues ranging from intimate clubs to major festivals in front of 20,000 fans, and bring a wealth of experience to the creation of their engaging style of music drawn from country, blues, roots and Southern rock.

In July 2019, they released their terrific debut album Rollin’ Again, which I later reviewed. Unable to tour or play live during most of 2020, the guys spent time writing and recording songs for their second album, due out later this year. The first single from the new album is “Makin’ Good Time“, which I’ve named my New Song of the Week. The song is a rousing Southern rocker, with feel-good lyrics about going out on the open road, experiencing freedom from responsibilities, and feeling the sun on your skin and the wind in your hair. “Wind on our backs, nothing but blue sky. Ain’t got no destination. No time or place we got to be. Makin’ good time, just gettin’ away.“

Musically, the song features the band’s reliably awesome mix of bluesy and slide guitars and jaunty honky-tonk piano, enhanced by a spirited horn section that really dials up the energy level. Dennis’ warm, earnest vocals are backed by the delightful Chandra Russell, whose soulful croons add some nice texture to the track. I love the many little touches the guys employ in their songs, like Kevin’s slide guitar mimicking a rolling train when Dennis sings the lyric “We’ll go down to the station tonight, we’ll hop on up when that train rolls by.” It’s a fine song that makes for a good time indeed!

Follow them on: Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple Music / Soundcloud
Purchase:  Bandcamp / iTunes / Website

JUSTIN BEYNON – Album Review: “In Motion”

On By EclecticMusicLoverIn Reviews9 Comments

Justin Beynon is a musician and singer/songwriter based in Aberdare, Wales who I recently learned about when he reached out to me about his just-released debut album In Motion. Music has been a major part of Justin’s life since his childhood, and he’s played an active role in the Welsh music scene for the last 30 years. As a member of numerous bands over the years, he’s been featured on several albums, as well as collaborated on many projects as a session musician. He’s also taught guitar and piano for the last 24 years. Several years ago, he built his own home studio and began learning how to use new technology so that he could record the backlog of songs he’d been writing over the years. Last year he decided to produce his first solo album, and got busy recording songs in his home studio, singing and playing all the instruments himself, other than on four songs that he recorded in a studio with the help of a friend and former bandmate Meirion Townsend on drums. The tracks were then mixed and mastered by Matthew Evans.

Justin elaborates on the things that inspired him to record and release the album: “Long before this pandemic was even on the horizon, I had experienced some of the most difficult and emotionally challenging years to date. As a result, I began to feel my passion and drive for playing and creating music slowly ebb away. Things got really difficult. I wondered if I was done. But, as has been the case so may times in the past, music came to my rescue. This collection of songs started life as two separate EP’s but with a common thread, that life is constantly ‘in motion’, regardless of what gets thrown at us.

Putting this album together has been my way of navigating a very difficult time. It was a big step forward for me as a writer, to have the freedom to work to my own timescale and have the tools to record myself, without the restrictions of studio costs etc. It was also my first step in releasing my own music under my own name rather than a band name. I called the album ‘In Motion’ as it seemed an appropriate title to a life and body of work gathering momentum over time, from the past and into the future. It’s been my way of making sure that these songs don’t live and die in my head. I hope that whoever hears them will find something positive in them.”

Well, I must say that after listening to In Motion, I’ve found plenty to like. First off are Justin’s engaging and catchy melodies. As someone with no musical aptitude whatsoever, I’m always impressed at how musicians are able to write great melodies and bring them to life with thoughtful arrangements and masterful instrumentation, which brings me to the second aspect of his music. Justin is an excellent guitarist, seemingly at ease playing a wide variety of styles ranging from folk, country and Americana to blues rock. He’s also a fine pianist, as evidenced on the opening track “All Inside” and the beautiful “All the Way Through”. Then there are his intelligent, heartfelt lyrics that speak to us in deeply meaningful ways which are expressed through his wonderful, no-frills vocals that remind me at times of the great Tom Petty.

He hits the ground running with the aforementioned “All Inside“, a rousing folk rock song that seems to speak to a relationship that’s failed due to a break down in communication and trust. Justin starts things off with his strummed acoustic guitar, then layers assertive piano keys and a driving bass line to add emotional depth to the song as he plaintively sings, “You’ll land, just like you did last time. You’ll stand, by keeping it all inside / Tell me, the reason for your disguise. Help me by keeping it all inside.” His blistering electric guitar that enters in the bridge and continues through the end of the track ends things on a high note.

Justin taps into his more soulful side on “The Walkover Rule“, laying down bluesy riffs over a mellow and funky groove that make this one of my favorite tracks on the album. He really channels Tom Petty on the next three tracks. The first, “Who Delivers?“, is a lovely, contemplative song where he seems to question the existence of faith: “Everyone’s talking like they know something. Like they found God. It’s probably nothing. Everybody knows somebody who delivers.” On the Beatle-esque “Another Universe“, he sings of hope and healing: “Until the sun comes out and warms the air like it was nothing. The day’s begun, start it all again. The fire and the rain will wash it all away into another universe.” And “The Sticks and the Stones” sounds like the best song Tom Petty never recorded, with a mix of jangly and twangy slide guitars that give the song a wonderful country rock vibe.

The melancholy “All the Way Through” is another of my favorites, as I’m a sucker for beautiful piano melodies. With only his haunting piano keys and stirring strings as a backdrop, Justin sadly laments to his partner of her unwillingness to make their relationship survive: “There’s nothing I can do to get you back inside the simple life. It’s perfectly entwined, and the love we’re trying to find is true. I really wanna see this all the way through. I’ll take it to a place where there ain’t any rules. I’m all out of luck.”

The mood picks up considerably with “Cheap Coat and Broken Wings“, a lively folk rock tune with some great Southern rock guitars, and on “One Long Kiss Goodbye“, with it’s exuberant toe-tapping melody and wonderful mix of jangly, chiming and gnarly guitars, accompanied by sparkling piano keys and snappy drumbeats. “Paper” is a particularly beautiful track, thanks to Justin’s shimmery guitar work and earnest vocals, enhanced by what I’m guessing are his own backing harmonies. The song seems to be a continuation of the sentiments first introduced on the opening track “All Inside”: “I don’t want to leave it all to chance. Do you want to wait for something greater? You’ve always lived with flashing lights. All of your dreams wrote out on paper.” He closes things out with “The Things That You Do“, a pleasing Country rock song with more of his terrific guitar work, and lyrics whose meaning I can’t quite figure out, but seem to speak to a loved one who takes him for granted: “The reason I fight ain’t over you. It’s not about the things that you do. I try, and I try ’cause of you, and you alone.”

To sum up, In Motion is a very fine, well-crafted album, and a wonderful debut effort from this remarkably talented musician. I’m truly impressed by Justin’s songwriting, musicianship and vocals, as well as his outstanding production abilities, and he should be very proud of what he’s created here. If you like an eclectic mix of folk and country infused with elements of blues, rock and pop, then you will enjoy this album.

Besides Soundcloud, Justin’s music can also be streamed on Spotify and Apple Music

100 Best Songs of the 2010s – #11: “Need You Now” by Lady Antebellum

On By EclecticMusicLoverIn Favorite Songs8 Comments

The song at #11 on my list of 100 Best Songs of the 2010s is the poignant “Need You Now” by Nashville-based Country band Lady Antebellum, who changed their name to Lady A this past summer in response to nationwide protests over the police killing of George Floyd. (That name change subsequently led to further controversy, as there was already another artist, Seattle-based African American activist and blues, soul, funk, and gospel singer Anita White, who’d been using the moniker “Lady A” for over 20 years. She and the band have sued each other over the use of the name; both cases have yet to be resolved.) Formed in 2006, the band is comprised of Hillary Scott on lead vocals, Charles Kelley on guitar and co-lead vocals, and Dave Harwood on guitar, piano, mandolin and backing vocals.  

I haven’t cared for very many country songs in recent years, however, I love “Need You Now” and it was my favorite song of 2010. The song contains strong pop elements, so it can be argued it’s more pop than country, which might explain why I like it so much. The stunning and bittersweet song was first released as a single and title track from their second studio album Need You Now in August 2009, and went to the top of the Billboard Hot Country Songs chart that December. It became so popular that it crossed over to the pop charts in early 2010, going all the way to #1 on the Adult Top 40 and Adult Contemporary charts, and #2 on the Hot 100. “Need You Now” won four Grammys in 2011, including for Record and Song of the Year.

The song’s arrangement and instrumentation are exquisite, especially the somber piano keys and mournful slide guitar that really tug at our heartstrings. The highly relatable lyrics, beautifully sung by vocalists Hillary Scott and Charles Kelley, describe making a phone call to a former lover in the middle of the night out of loneliness and longing for companionship: “And I wonder if I ever cross your mind / For me it happens all the time / It’s a quarter after one / I’m a little drunk and I need you now / Said I wouldn’t call, but I lost all control and I need you now.” The line “Guess I’d rather hurt than feel nothin’ at all” really sums up the sometimes painful conundrum of love, relationships and life.

LYIA META – Single Review: “Now I Know the Reason Why”

On By EclecticMusicLoverIn ReviewsLeave a comment

lyia meta2

One of my favorite female vocalists is Malaysian singer-songwriter Lyia Meta, who I’ve featured a number of times on this blog over the past two and a half years. (You can read my previous reviews listed under “Related” at the end of this post.) Based in Kuala Lumpur, Lyia is an astonishingly talented, gracious and lovely woman, with a dazzling powerhouse voice to match. (She’s also a highly accomplished visual artist, and last year did a wonderful pencil drawing of me, which was very flattering to say the least!)

With her deep, smoky and resonant vocal style, and masterful ability to cover multiple genres ranging from blues and hard rock to pop and country with ease, she’s become an international music star, winning numerous music awards over the past several years, including the 2018 Josie World Music Artist Award, which was presented to her in Nashville, Tennessee. More recently, her song “All of My Love” has been nominated for an International Portuguese Music Awards People’s Choice Award in two categories.

While Lyia often writes her own songs, she also collaborates with other songwriters and musicians from time to time, not only to broaden her own musical horizons, but also to support other songwriters. With that in mind, for her latest single “Now I Know the Reason Why” she collaborated with songwriters Mike Jones and Jerry Jake Howard, Sr. The song was inspired by a true story and written from first hand experience, and although it’s not Lyia’s own story, the powerful lyrics strongly resonated with her. The song was produced by R. Gary Farmer, who also played organ and keyboards. Session musicians Michael Headrick played steel and lead guitar, Chips Roland played bass and Al Samples played drums.

“Now I Know the Reason Why” is a beautiful, blues-soaked country song about the sorrow and pain that comes from losing someone you love to another. The bittersweet lyrics are from the point of view of a woman seeing the man she loves marry another woman. It’s the kind of heartbreaking torch song Patsy Cline could have sung back in her day, and Lyia’s marvelous heart-wrenching and bluesy vocal performance makes us believe she’s lived every word of it. Listening to her sing, it’s easy to think she’s from Nashville rather than Kuala Lumpur. The instrumentals and music arrangement are superb, and I especially love the terrific organ, piano and steel guitar that give the track its wonderful country flavor. It’s a great song.

I saw my baby with her yesterday
Oh how it hurts, it was his wedding day
I saw my love walk down the aisle
I heard the words they had to say
I heard them say ’til death do us part’
Every word was hurting my heart
And I saw the way he kissed her
And how he held her so tight

I saw the way he held her hand in his
And lord, all I could do was cry
Because I’m losing the one who loves me
And now I know the reason why

I saw the way he kissed her
And I saw the look in her eyes
And then I heard them say ‘I do’
And all I could do was cry

I saw my love walk down the aisle with his new love
And then I watched them drive away
Lord I lost my true love on that day
And now I know, yes now I know the reason why

Connect with Lyia: Website / Facebook / Twitter / Instagram
Stream her music on Spotify / Soundcloud / Apple Music / Reverbnation
Purchase on iTunes / Amazon / Google Play

DIARY OF AN OUTLAW – Single Review: “A Beautiful Woman”

On By EclecticMusicLoverIn Reviews5 Comments

DOA - A Beautiful Woman

Diary of an Outlaw (DOA) is the music project of singer-songwriter, producer and director Angel Synn. I featured him on this blog this past December (2019) when I reviewed his explosive rock single “BIGTIME”. Now he returns with a powerfully moving love song “A Beautiful Woman”, along with a deeply personal video, in honor of Valentine’s Day. Normally, Angel’s songs are hard-hitting bangers, but he slows things down here to create a beautiful piano-driven ballad with more of a country-rock feel. The piano and slide guitar are stunning, creating a dramatic and stirring backdrop for Angel’s heartfelt vocals (which sound a lot like Scott Stapp to my ears).

Angel says the song is cathartic for him. “It makes me dig deep inside my heart and speak to you my friends: Live in the moment. Love who you want. Fight for your heart. Finish what you start. Be the change in your life. Strength and guidance to do what you need to do but most of all, be true to yourself so the mirror can always be proud of the reflection staring back.”

The lyrics are a heartbreaking tribute to a woman who loved him, but he lost through his mistakes and indifference:

She’s the kind of woman you hold on to
Hold on to, a woman like that
She don’t understand why I let her go
Let her go
A beautiful woman like that

She’s the kind of woman who gives her heart
Gives her heart with all she has
And any man I know if he had the chance
Would give his all to a beautiful woman like that

She really loved me, but I really let her down
I didn’t see it, well I, I see it now

She’s the kind of woman to tell her friends
She’ll tell her friends, that’s my man
Well she’ll dance around, she’ll smile and she’ll joke all day
Your heart will melt for a beautiful woman like that

She really loved me, but I really let her down
I didn’t see it, well I, I see it now

She’s the kind of woman you can’t forget
You don’t forget a woman like that
Well years from now I know I’ll still see her face
Still taste her kiss, still hurt like this
Still hate myself for letting go
Cause you can’t forget a beautiful woman like that

The sweet video was filmed in and around Angel’s home town of Detroit.

Connect with Diary of an Outlaw:  Facebook / Twitter / Instagram
Stream his music:  Soundcloud / Reverbnation / YouTube

MATLEN STARSLEY BAND – Album Review: “Rollin’ Again”

On By EclecticMusicLoverIn Reviews4 Comments

Matlen Starsley album art

As someone who passed 50 longer ago than I care to admit, acts like the Matlen Starsley Band (MSB) are an inspiration for me. Unlike a lot of musicians and bands of their vintage who are either resting on their laurels or touring with legacy shows, MSB was formed as a brand new project with the sole aim of writing, recording and releasing an album of entirely original music. As they explain on their website: “We just wanted to get a group of accomplished players together to create some great music and recapture some of the energy and passion that got us into the music business in the first place. No musical boundaries, We are letting the songs take us wherever they may lead and just letting the music speak for itself.” Last July (2019) they dropped their appropriately-titled first album Rollin’ Again, which I’m pleased to introduce to my readers.

Based in Vancouver, Canada, MSB consists of Dennis “Dollar” Matechuk (lead vocals), Kevin “Bubba” Star (guitar & vocals), Don Lennox (bass & vocals), Jim Wesley (drums) and Darryl Hebert (keyboards, guitar, accordion & vocals). All seasoned musicians, they’re either former or current members of the Bryan Adams Band, The Ray Roper Project, Bad Moon Riders, Touchdown, Fandango, and Bad Allen and the Muscle Cats. Collectively, they’ve played thousands of shows in venues ranging from intimate clubs to major festivals in front of 20,000 fans, and bring a wealth of experience in creating their lively and eclectic mix of country, blues, Southern rock and roots music. Their years of living and all its attendant facets of love, joy and pain are reflected in their honest and relatable lyrics too.

Curious that none of the band members are named ‘Matlen’ or ‘Starsley’, I asked them about the origin of their name. Not sure what to call their band, they eventually decided to take parts of each of the four founding members last names and fit them together: Matlen is from Matechuk and Lennox, and Starsley is from Star and Wesley, which I think is pretty damn clever. (Hebert joined the band later.)

Rollin’ Again kicks off with “Short Ride on a Long Haul“, a rousing song about a hookup while on the road that’s left the singer besotted by a woman’s charms, and wanting more: “When I woke up in the morning, you were gone. Now the radio’s playing a sad road song. It was a short ride on a long haul. Babe I wanna see you again. It was a blue moon on a red hot night. I’m in town, baby do it again.” Against a backdrop of driving rhythms and rolling guitars, Hebert’s spirited organ riffs are a highlight.

On “It Hasn’t Hit Me Yet“, the band delves into the blues, both musically and lyrically. The bluesy guitars are terrific, and I really like Matechuk’s clear, earnest vocals as he sings of his sadness and frustration over a love that’s slipped away, acknowledging that he’s partly to blame: “Now I ain’t ever been one to settle down. The truth is your good love couldn’t keep me ’round. But i’m here at your door, want you back, but you won’t love me no more.”

Keeping with a similar theme, the bittersweet “I Cried Today” speaks to that twinge of regret many of us have felt when seeing an old flame, wondering what could have been had things turned out differently: “I heard today you found someone who makes you happy. A good man, the true love that you’ve been searching for. I cried today. Were the tears for you, tears for me, or for the years that lie between what we had and could have been? I cried today. I got a good life, got a good love. You’re happy too, that should be enough. I’m still selfish in that way, so I cried today.” The guitars and organ work are sublime, and Matechuck’s vocals nicely convey the poignant emotions described in the lyrics. It’s a beautiful song, and one of my favorites on the album.

“A Life Worth Living” is another highlight on the album for me. Once again, the guitars and organ are great, and Lennox and Wesley do their part to keep the rhythm on a solid footing. “A Matter of Time” is a lively rockabilly tune about picking oneself up after a failed love affair, and getting back into the game: “I got what you need, if you give me half a chance / You got to come out swingin’, and learn to love again.”  The wonderful honky tonk-style piano takes center stage here.

The band returns to the blues in a big way on “We Don’t Love No More“, a sorrowful song about a relationship that’s broken beyond repair. Bubba’s bluesy guitar work and Hebert’s mournful organ work are fantastic, making this my favorite track on the album. Matechuk’s heartfelt vocals beautifully express the abject sadness contained in the painful lyrics: “I got this feeling this time we’ve gone too far. All those years have worn us down. And all those things we held so close, are the things that hurt the most. Find the words that hurt and scar. Gonna burn this to the ground, cause you and I we don’t love no more.”

MSB seem to pay tribute to Tom Petty on the title track “Rollin’ Again“, with twangy guitar riffs and a melody influenced by the Southern Rock legend’s signature sound. The song is about moving on from a relationship that was doomed from the start: “I ain’t one for laying blame. I’ll leave that to you. Now you say you want something more, and that’s something I can’t give./ All the things that were keeping me down. I’m rollin’, rollin’ again.” “Trail Went Cold” is a bouncy Country tune, with twangy guitars and harmonica, while “Sweet Touch” has a harder rock’n’roll feel, with heavier guitars and more aggressive drums, though Hebert’s organ is prominent here too.

The guys close out the album with the wonderful kiss-off “Your Love Ain’t Special“. As always, they deliver the music goods, laying down some mighty tasty bluesy riffs and marvelous organ work. All in all, Rollin’ Again is a terrific album, and a fine debut effort by this talented collective of musicians. With songs ranging from Southern rock and blues to Country and rockabilly, there’s something for everyone to enjoy on this record.

To learn more about the Matlen Starsley Band, check out their Website

Follow them on: Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple Music / YouTube
Purchase:  Bandcamp / iTunes / Website

EML’s Favorite Songs – MARTY ROBBINS: “El Paso”

On By EclecticMusicLoverIn Favorite Songs8 Comments

Marty-Robbins-El-Paso-1518727629-640x623

I’ve always liked songs with great stories, and no music genre excels at storytelling more than Country. One of the best story songs of all time has to be the haunting ballad “El Paso” by Country legend Marty Robbins. My parents had his greatest hits album, so as a young kid I heard a lot of Marty Robbins. Born Martin David Robinson in the Phoenix, Arizona suburb of Glendale, he was one of the most popular artists of what back then was called ‘Country and Western’ music. In addition to his singing career, he also acted in several films and was a successful race car driver, competing in 35 NASCAR national races, with six top 10 finishes.

“El Paso” was written by Robbins, and tells the story of a guy who meets and falls in love with a beautiful woman named Felina in an El Paso cantina. Even though she resists his advances, he becomes jealous when another guy hits on her, and challenges him to a duel, ending up shooting and killing the man. He flees for his life, but can’t stop thinking about Felina. And so, despite the danger, he decides to return to El Paso to see her, only to be shot and killed by cowboys on the lookout. The song was released in October 1959 and shot (no pun intended) to the top of both the Billboard Country and Pop charts in early 1960. It went on to win a Grammy for Best Country & Western Recording in 1961, and remains Robbins’ biggest hit and best-known song.

It’s considered one of the greatest Country music classics for its gripping narrative that ends in the death of its protagonist, Robbins’ beautiful vocals, as well as the sublime backing harmonies by Bobby Sykes and Jim Glaser, and the distinctive Spanish guitar accompaniment by Grady Martin that gives the song a Tex-Mex feel (having grown up in Arizona, Robbins was fond of Mexican music, and wanted the flavor of a Mexican guitar used in the song).

The song runs well over four minutes, far longer than most singles played on the radio at the time, which generally ran 2:30-3 minutes. Robbins’ label Columbia Records was unsure whether radio stations would play it, so released a shorter, three-minute-long version which obviously omitted quite a few lyrics. Most of the record-buying public, however, as well as most DJs, overwhelmingly preferred the full-length version. An interesting aspect of the song is that it has no chorus, but rather one stanza following the next as the saga unfolds.

Out in the West Texas town of El Paso
I fell in love with a Mexican girl
Nighttime would find me in Rosa’s cantina
Music would play and Felina would whirl

Blacker than night were the eyes of Felina
Wicked and evil while casting a spell
My love was deep for this Mexican maiden
I was in love, but in vain I could tell

One night a wild young cowboy came in
Wild as the West Texas wind
Dashing and daring, a drink he was sharing
With wicked Felina, the girl that I loved

So in anger I challenged his right for the love of this maiden
Down went his hand for the gun that he wore
My challenge was answered in less than a heartbeat
The handsome young stranger lay dead on the floor

Just for a moment I stood there in silence
Shocked by the foul evil deed I had done
Many thoughts raced through my mind as I stood there
I had but one chance and that was to run

Out through the back door of Rosa’s I ran
Out where the horses were tied
I caught a good one, it looked like it could run
Up on its back and away I did ride
Just as fast as I could from the West Texas town of El Paso
Out to the badlands of New Mexico

Back in El Paso my life would be worthless
Everything’s gone in life nothing is left
It’s been so long since I’ve seen the young maiden
My love is stronger than my fear of death

I saddled up and away I did go
Riding alone in the dark
Maybe tomorrow a bullet may find me
Tonight nothing’s worse than this pain in my heart

And at last here I am on the hill overlooking El Paso
I can see Rosa’s Cantina below
My love is strong and it pushes me onward
Down off the hill to Felina I go

Off to my right I see five mounted cowboys
Off to my left ride a dozen or more
Shouting and shooting, I can’t let them catch me
I have to make it to Rosa’s back door

Something is dreadfully wrong, for I feel
A deep burning pain in my side
Though I am trying to stay in the saddle
I’m getting weary, unable to ride

But my love for Felina is strong and I rise where I’ve fallen
Though I am weary, I can’t stop to rest
I see the white puff of smoke from the rifle
I feel the bullet go deep in my chest

From out of nowhere Felina has found me
Kissing my cheek as she kneels by my side
Cradled by two loving arms that I’ll die for
One little kiss, then Felina good-bye

EML’s Favorite Songs – PATSY CLINE: “Crazy”

On By EclecticMusicLoverIn Favorite Songs10 Comments

I’ve really been enjoying the Ken Burns series Country Music that’s been airing on PBS the past few weeks, and it’s reminded me of several classic country songs that I love. So, over the next week or two, I’ll be writing about a few of my personal favorites, the first of which is “Crazy” by Patsy Cline. The beautiful but heartbreaking song was Cline’s highest-charting single on the Billboard Hot 100, peaking at #9 and reaching #2 on the Country Chart, and has endured as one of the most popular and beloved songs of all time in the 58 years since its release. It was stated in the Country Music series that it’s the most-played jukebox track of all time.

Patsy_Cline-1962_EP

Born Virginia Patterson Hensley in 1932, Cline is considered one of the most important and influential female vocalists of the 20th Century, and one of the first country music artists to successfully crossover onto the pop charts. With her deep, resonant singing voice and ability to convey strong feelings of emotional pain and longing, she could bring even the biggest cynic to their knees. The Washington Star magazine beautifully described the essence of her vocal style: “She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, singing with a monotonous high-pitched nasal twang. Patsy’s come up with a throaty style loaded with motion and E-motion.”

After a slow start, with a series of singles she recorded for Four Star Records failing to become hits, Cline finally had her first break-out hit “Walkin’ After Midnight” on the Decca Records label in 1957. Then, surprisingly, she didn’t have another chart hit until 1961’s “I Fall to Pieces”. In June of that year, she and her brother were in a near-fatal head-on car crash in which she was thrown through the windshield, suffering a severe cut to her forehead that narrowly missed her eyes and left her with a huge scar. After recovering well enough from the accident, though still in pain, she recorded “Crazy”. And oh man, that pain seems to emanate from her very core when she delivers those poignant lyrics with such conviction that we believe every word.

Like with many classic songs, “Crazy” has an interesting back story.  Cline’s husband Charlie Dick actually first heard the song one night on a jukebox while waiting for her in a bar. It was a recording by Paul Buskirk and His Little Men, featuring Hugh Nelson – now known as Willie Nelson – who wrote the song. Dick thought it would be a perfect song for her, and approached Nelson about them recording his song, to which he agreed. He then pitched it to Cline, who didn’t like it, and didn’t want to record it. She considered herself a country singer, and didn’t particularly like the vulnerable heartbroken sound of songs like “Crazy.” But her record producer Owen Bradley believed those songs were exactly right for her, and ultimately convinced her to record it.

Bradley wanted to produce a new and more sophisticated form of country music by adding more instrumentation and background vocals to create a fuller, richer sound. He brought in The Jordanaires, who also sang backup on a lot of Elvis Presley’s songs, and hired young piano player Floyd Cramer, as well as bass guitarist Bob Moore. Cline listened to Buskirk & Nelson’s version of “Crazy” and decided she would perform it differently, removing a spoken section that was featured on the original recording.  When the song was set to be recorded on August 17, 1961, Cline first performed some other material, and by the time they got to “Crazy”, she was tired and had difficulty singing the song’s higher notes due to residual rib pain from the car accident. Bradley sent her home to rest while the musicians laid down the instrumentals without her. A week later she returned and recorded her vocal in a single take. As we can all attest, it was perfect, and the rest is history.

Her untimely death less than two years later was a terrible loss, and we can only imagine how many more wonderful songs she could have given the world.

Crazy
I’m crazy for feeling so lonely
I’m crazy
Crazy for feeling so blue

I knew
You’d love me as long as you wanted
And then some day
You’d leave me for somebody new

Worry
Why do I let myself worry?
Wondering
What in the world did I do?

Oh, crazy
For thinking that my love could hold you
I’m crazy for trying
And crazy for crying
And I’m crazy for loving you

Crazy
For thinking that my love could hold you
I’m crazy for trying
And crazy for crying
And I’m crazy for loving you

ITHACA BOTTOM BOYS – Album Review: “Ithaca Bottom Boys”

On By EclecticMusicLoverIn Reviews4 Comments

Ithaca Bottom Boys album

Being EclecticMusicLover, I love discovering interesting new music, so it was my lucky day when I was contacted by Leo Maniscalco, a member of the band Ithaca Bottom Boys, about reviewing their album. Hailing from the bucolic college town of Ithaca, New York, the five-piece formed seven years ago while still in high school, and ever since have been honing their craft by playing together and writing songs. On September 1st, they dropped their eponymous debut album Ithaca Bottom Boys, and what a delight it is! Their infectious eclectic sound is refreshing, surprising and lots of fun as they weave stories about the travails of life, love, substance abuse and relationship hell.

Comprising the Ithaca Bottom Boys are Tenor Caso (drums, vocals, aux percussion, acoustic guitar), Tristan Ross (guitar, vocals, aux percussion, piano ), Leo Maniscalco (guitar), Joe Hayward (banjo, vocals) and Abel Bradshaw (bass). In introducing his band, Leo had this to say about their music:  “Its difficult for me to describe our sound in a concise way, and no one song fully gives a representation of it, but here’s a go: we have four singers and songwriters, do a lot of vocal harmonies, and the songs are very dynamic with many changing parts and moods. They are also highly textural, featuring five musicians (two guitars, banjo, bass, and drums) each with unique yet congruous playing styles. It’s kind of folk and country meets rock and punk meets funk and soul, with splashes of other things thrown in, like hip-hop, jazz, psych, and prog.”

After listening to the album, I’d say his description pretty well nails it, and I love their eclectic music. I always try to include a few lyrics in my reviews, but the Ithaca Bottom Boys’ lyrics are so colorful and hilarious that I’ll be quoting them a lot.

Ithaca Bottom Boys 2

The album kicks off with “Blues in a Bottle,” a bluesy Rockabilly romp that sets a light-hearted tone and plants a big smile on my face, even though the lyrics address the guy’s messed-up woman who’s into some bad shit: “Blues in a bottle, blues in a bottle. Where do you think you’re at pretty mama. You went and kicked my dog, and now you drown my cat./ Goin’ to silly-putty, goin’ to silly-putty. Sorry I can’t take you pretty mama. I don’t abide no woman, who goes round sniffin’ glue.” The song immediately segues into “Gasoline n’ Kerosene,” a very catchy tune with very morbid lyrics about how he killed the woman who double-crossed him, burned down her house, and was hung for his crime: “When I went to that house you said that you’d be, you took one look into my eyes, and you began to flee. And I said gasoline n’ kerosene you owe me money for. You bad ol’ broad you shot me down, and now you’ll be no more. / Well… Just before that lever did let my gallows swing, I saw my aged mother a weepin’ after me. And I said gasoline n’ kerosene I can’t believe my sin, My soul shall burn as you have done and never…Will I see your sweet face again.”

“Winter Biking” sees the singer riding his bike into town on icy roads, taking a spill, and wishing he’d listened to his momma about taking the bus instead – all metaphors for the risks we take in life. “Thirty bellow but I’m still sweatin’. The devil only knows what I am gettin’ into. Well up a hill down a hill the struggles that I’ve been through. The thing about life is the road always continues.” The guys’ vocal harmonies on this track are especially wonderful. The guys change gears (pun intended) to an R&B vibe with the delightfully soulful love song “Baby.” The opening bass riff that continues throughout the track reminds me a bit of The Temptations’ classic “My Girl.”

One of my favorite tracks is “Hail to Dale,” which humorously takes on the perils of heavy drinking with a rowdy mix of music styles ranging from blues to bluegrass to funk. The lyrics are both funny and poignant: “Well… if I don’t dale a beer tonight, I might as well start a rowdy bar fight. Cause I hate myself and I hate my life. Pain and pleasure’s the same to me, and that all started when I was three, ’cause my daddy switched the bottle.”

Continuing with the theme of substance abuse, the guys veer off into psychedelic madness on the marvelously trippy “Salvia Apple.” The zany track sounds like what we’d expect from the bastard children of Frank Zappa and Dr. Demento, with all sorts of melodic change-ups, quirky instrumentals and crazed vocals. The lyrics are hilarious yet deeply poetic, as if from a fractured Shakespearean comedy: “Salvia apple and a bottle of jack. All I’ve had to eat or drink and that is a fact. Don’t care if I go hungry I’m just lookin’ to get smacked. Pass out in the jungle by the railroad tracks./ I’m a derelict, no one cares if I’m recked or sober. Grown colder, shouldered at the might of a globe wide society. So deprived of life yet so maniacally living. My state be so squalor I take whatever I’m given.”

“Flip That Record Jhonny” is a rousing Bluegrass/Rockabilly mostly instrumental tune that makes you want to kick up your heels. The guitar work and vocal harmonies are really terrific. And speaking of Dr. Demento, the guys get downright scandalous on “Demented Family.” The highly provocative lyrics seem to poke fun of a certain demographic, calling out incest and religious fanaticism: “Well my family tree’s got lotsa knots, and I get a lot o’tention from the cops, Cause incest on the ranch is plain to see. Pappy loved his sister and that made my daddy. And my daddy loved his sister too and that made little ol’ me. Well I never had no sister so I just loved my niece. I lessend my genealogy by stickin’ my D in her crease.” Oh my! They turn mellow as they sing the virtues of toking up on “Reefer Makes Everything Better,” a funny ditty with an early Lovin’ Spoonful vibe.

Perhaps the wildest track is “Summer Beavers,” the title being a play on the leading lyrics “Some are beavers, some are people…and most don’t really understand.” This long track is a real tour de force, with a mix of genres that go from blues to punk to country to funk to rap – sometimes all in the same stanza, kinda like The Red Hot Chili Peppers have done on some of their songs. The guys go crazy with bizarre lyrics that sound like being on an acid trip: “Rippin’ and a skippin’ like a minnow in the river. Susquehanna wit’ yo mama, catchin’ tuna on a canoe. Hock at me I’ll lock you in a rock up in Chautauqua. Yo hablo con Jorgito, necesito mucha agua. Pappy’s down the road in a jalopy popin’ poppy seeds, cruisin’ past the stoppers, coppers crackin’ down on acid droppers. Baller all are things, some are beavers. Tall like cedars, small like skeevers. We be eaters, feeders, bleeders, breeders, breathers, and beasts like golden retrievers, whaddap? ha-ha-ha.”

The guys seem to channel The Red Hot Chili Peppers again on the languid “No Regrets,” with jangly guitars, funky bass and vocals that sound a bit like Anthony Kiedis. They then abruptly change things up again on “Surfer NY,” an exuberant tune with awesome surf-rock guitars and a frantic punk beat. The explicit lyrics speak for themselves: “Surfin’ New York, yes I’m surfin’ New York. Havin’ sex on the rocky beaches. I’ve got lotsa rocks in my breeches. No I don’t know how they got in the laundry. No I’m not doin’ the nasty momma. No mama no mama no mama no. No those aren’t crack rocks don’t be silly. That’s just some crusty jizz from my willy. No mama no I’m not abusin’ myself. No mama no don’t kick me outa the house.” It’s an insanely wild trip from start to finish!

I must say that Ithaca Bottom Boys is unquestionably one of the most unusual and enjoyable albums I’ve had the pleasure of reviewing, and I love this crazy band! If you like unique, eclectic and unorthodox music, then this album should be in your collection!

Connect with the Ithaca Bottom Boys:  Facebook / Instagram
Stream their music on Spotify / Soundcloud / Apple Music
Purchase on Bandcamp / iTunes