MITCH'S PICKS - Where Mitch Axelrod reviews releases and performances by artists that our listeners may ... or in many cases SHOULD ... know and love.
BILLIE EILISH - "HIT ME HARD AND SOFT!": BILLIE’S BEST!
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With Hit Me Hard and Soft, Eilish ‘Opens the Door’ to Her Inner Diary and Takes Us On A Wild Ride…and it’s “The Greatest.”
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TRACK LIST
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Most young artists are happy to have a hit and keep the machine going, without bothering to grow as both an artist and as a person. But Billie Eilish is no ordinary young artist. Together with her multi-talented brother Finneas, the duo has unleashed her third full album, Hit Me Hard and Soft, and it is her best to date.
The album features themes of self-reflection, lost and found love, both unrequited and unreciprocated, happiness and self-confidence. The adventure begins with “Skinny,” a song which has Eilish reflecting on the pressures of being who the public expects her to be, while trying to figure out herself who she really is. It’s a classic tale of others judging a book by its cover but loving who you really are despite the outside forces. The beautiful live strings were arranged and scored by Finneas. She is only 22 years old but with lyrics like “21 took a lifetime” and “am I on the way out?” one can only imagine the enormous pressure of living up to public AND self -perceptions. But Eilish seems to be accepting of older versions of herself that she used to claim was a monster under her bed. It’s a song that shows some self-doubt, a trait which quickly dissipates by the next song. |
“Lunch” is a great techno pop song which finds Eilish in a very flirty mood. A great groove with lyrics which may be a bit T.M.I, but it’s not the first time in music history that an artist has expressed their desires in song, and it won’t be the last time. But this is where her self-confidence starts to shine and it’s fun! (Full disclosure: I am a 62-year-old man with a 20-year-old daughter, and I have zero issues with this infectious pop song).
“Chihiro” is a song based on themes in the 2001 anime feature film, Spirited Away,’ a favorite of both Finneas and Billie. Within the verses of this song, the duo paints vivid pictures of multiple scenes from the movie. Again, so catchy. I dare you to listen and then NOT have the phrase “open up the door” dancing in your head forever.
The next song on the album is a particular favorite, “Birds of a Feather.” Another catchy groove, this could be about any strong relationship, including the close-knit relationship she has with her brother. And if there was any doubt that Eilish could sing in more than a whisper, take a listen to this song. WOW! She belts out the ending. But we already knew she could belt. Listen to ‘No Time to Die,’ her FIRST Oscar winning song.
The beautiful acoustic ballad, “Wildflower” is next. This song can be interpreted in many ways. On the surface, it appears that she has suffered a broken relationship and may have befriended someone in her ex’s past. Together they have decided that they both deserved better. If one digs a bit deeper, it could also be that the “other” person that she speaks of is her old self, and she has come to realize that both who she was and who she is, deserved better! This one features Finneas on drums. Is there anything he CAN’T do? I bet he can’t double Dutch jump rope…lol.
Up next is “The Greatest,” a powerful song which, once again, can be open to many interpretations. It appears to be about a love unreciprocated, or Billie is talking to her audience, letting them know how she’s done everything to keep them satisfied while still hearing all the noise about her from them. You can hear the angst in her voice as she belts out the sarcastic line, ‘Man, am I the greatest?’ The mix of strings and harmonies engulf the listener to the point where we ache along with her as she cries out in frustration. If you have this on vinyl, you need to take a break and digest what you just heard on side one, and as a fan, I couldn’t wait to flip the record over.
Side two of the album (track 7) opens with “L’Amour De Ma Vie” (“The Love of My Life”). This song is a personal favorite of mine. Billie takes the listener on a musical adventure as she starts off in a smokey jazz club and ends up in a techno dance club! In the jazz club, Eilish shows off her incredible singing chops as she channels her best Julie London when she tells her former partner that she lied to them and that they might not have been the love of her life after all. Another tale of unreciprocated love, except this time, Billie does the dumping. After wishing them well, she transitions to a dance club and the song becomes a techno-pop confession to us all just how ‘mediocre’ the relationship actually was. Originally conceived as two separate songs about two separate subjects, Billie and Finneas combined the two to become a tour de force with a great groove. I can picture the partner chasing after Billie yelling, “but you said I was the love of your life,” to which she responds, “girl, whatever.”
“The Diner” is an interesting song about a love and obsession gone too far. Billie herself had a situation with a stalker last year which escalated to the point of needing a restraining order against them. In a unique twist, instead of telling the listener the story from HER point of view, she cleverly (and creepily) turns it around and tells a story from the stalker’s point of view, as if she’s either done a bit of stalking in the past or has thought about it. Incidentally, Billie gives out a phone number at the end of the song. If you send a text to it, you will get updates on Billie and the album. Very clever indeed.
“Bittersuite” has Eilish unveiling her desires for her ideal relationship. Although she knows what she wants, she appears to struggle with her need to control her emotions and keep her guard up. The first half of the song is musically reminiscent of “Chihiro,” while the second half, Billie feeds into her appetite for love despite her inner conflict, over a simple beat pattern and synths until she travels the sound into the melody of the next track, “Blue.”
The album closer, “Blue,” is a reworked version of their unreleased 2015 song “True Blue.” The first two minutes remain true to the original, and encompasses lyrics from throughout the album, as she has done in the past with her song “Goodbye” from her album, When We All Fall Asleep Where Do We Go? Over a haunting piano melody, Billie expresses deeply insightful thoughts with lyrics such as “You were born reaching for your mother’s hands, Victim of your father’s plans to rule the world.” She is accepting the person for who they are and their upbringing knowing well that they aren’t compatible. Attentive listeners will notice the melody of the bridge in “The Greatest” was replicated in the form of strings at the end of “Blue” and “Skinny.”
Hit Me Hard and Soft is a wonderful album which showcases the duo’s vulnerability and self-confidence and highlights the musical growth of Billie and Finneas, while still reflecting on their past musical releases.
At the completion of “Blue,” there is a short pause, then Billie asks, “but when can I hear the next one?” Given the strength of this album, hopefully very soon.
“Chihiro” is a song based on themes in the 2001 anime feature film, Spirited Away,’ a favorite of both Finneas and Billie. Within the verses of this song, the duo paints vivid pictures of multiple scenes from the movie. Again, so catchy. I dare you to listen and then NOT have the phrase “open up the door” dancing in your head forever.
The next song on the album is a particular favorite, “Birds of a Feather.” Another catchy groove, this could be about any strong relationship, including the close-knit relationship she has with her brother. And if there was any doubt that Eilish could sing in more than a whisper, take a listen to this song. WOW! She belts out the ending. But we already knew she could belt. Listen to ‘No Time to Die,’ her FIRST Oscar winning song.
The beautiful acoustic ballad, “Wildflower” is next. This song can be interpreted in many ways. On the surface, it appears that she has suffered a broken relationship and may have befriended someone in her ex’s past. Together they have decided that they both deserved better. If one digs a bit deeper, it could also be that the “other” person that she speaks of is her old self, and she has come to realize that both who she was and who she is, deserved better! This one features Finneas on drums. Is there anything he CAN’T do? I bet he can’t double Dutch jump rope…lol.
Up next is “The Greatest,” a powerful song which, once again, can be open to many interpretations. It appears to be about a love unreciprocated, or Billie is talking to her audience, letting them know how she’s done everything to keep them satisfied while still hearing all the noise about her from them. You can hear the angst in her voice as she belts out the sarcastic line, ‘Man, am I the greatest?’ The mix of strings and harmonies engulf the listener to the point where we ache along with her as she cries out in frustration. If you have this on vinyl, you need to take a break and digest what you just heard on side one, and as a fan, I couldn’t wait to flip the record over.
Side two of the album (track 7) opens with “L’Amour De Ma Vie” (“The Love of My Life”). This song is a personal favorite of mine. Billie takes the listener on a musical adventure as she starts off in a smokey jazz club and ends up in a techno dance club! In the jazz club, Eilish shows off her incredible singing chops as she channels her best Julie London when she tells her former partner that she lied to them and that they might not have been the love of her life after all. Another tale of unreciprocated love, except this time, Billie does the dumping. After wishing them well, she transitions to a dance club and the song becomes a techno-pop confession to us all just how ‘mediocre’ the relationship actually was. Originally conceived as two separate songs about two separate subjects, Billie and Finneas combined the two to become a tour de force with a great groove. I can picture the partner chasing after Billie yelling, “but you said I was the love of your life,” to which she responds, “girl, whatever.”
“The Diner” is an interesting song about a love and obsession gone too far. Billie herself had a situation with a stalker last year which escalated to the point of needing a restraining order against them. In a unique twist, instead of telling the listener the story from HER point of view, she cleverly (and creepily) turns it around and tells a story from the stalker’s point of view, as if she’s either done a bit of stalking in the past or has thought about it. Incidentally, Billie gives out a phone number at the end of the song. If you send a text to it, you will get updates on Billie and the album. Very clever indeed.
“Bittersuite” has Eilish unveiling her desires for her ideal relationship. Although she knows what she wants, she appears to struggle with her need to control her emotions and keep her guard up. The first half of the song is musically reminiscent of “Chihiro,” while the second half, Billie feeds into her appetite for love despite her inner conflict, over a simple beat pattern and synths until she travels the sound into the melody of the next track, “Blue.”
The album closer, “Blue,” is a reworked version of their unreleased 2015 song “True Blue.” The first two minutes remain true to the original, and encompasses lyrics from throughout the album, as she has done in the past with her song “Goodbye” from her album, When We All Fall Asleep Where Do We Go? Over a haunting piano melody, Billie expresses deeply insightful thoughts with lyrics such as “You were born reaching for your mother’s hands, Victim of your father’s plans to rule the world.” She is accepting the person for who they are and their upbringing knowing well that they aren’t compatible. Attentive listeners will notice the melody of the bridge in “The Greatest” was replicated in the form of strings at the end of “Blue” and “Skinny.”
Hit Me Hard and Soft is a wonderful album which showcases the duo’s vulnerability and self-confidence and highlights the musical growth of Billie and Finneas, while still reflecting on their past musical releases.
At the completion of “Blue,” there is a short pause, then Billie asks, “but when can I hear the next one?” Given the strength of this album, hopefully very soon.
PAUL McCARTNEY - "McCARTNEY III": THIRD TIME’S A CHARMER!
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I was eight years old in 1970 and still a huge mop tops fan when McCartney was released, and I did not know what to do with it. I was eighteen in 1980 when McCartney II came out. I was not into techno or any experimental music, so I had no clue what to do with THAT album either. Now, in 2020, Paul McCartney is about to release McCartney III and I know EXACTLY what to do with it; push play and just sit back and enjoy it!
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TRACK LIST
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As I have matured, my appreciation for the first two albums in the trilogy has grown immensely. At seventy-eight years young, McCartney has crafted an album that displays everything we have come to love, and not love so much, about his solo output.
DISCLAIMER: There has been a lot of chatter from fans, including me, about the state of Paul’s current voice. If you are expecting to hear the voice that sang out in the 1960’s, 1970’s or even 2000’s, and won’t be happy with anything else, then this may not be the release for you. But if you enjoy pure pop melodies with a bit of experimentation sung by a music legend with a weathered voice, then McCartney III is a very pleasant listening experience. Don’t get me wrong, the album has some really great vocal moments because Macca is playing to his vocal strengths and understands his limitations. Unlike some past releases, there is not one song on this release where his voice made me skip a song. |
Recorded during the COVID-19 pandemic, this album was made with no pressure to be anything, let alone a polished “Paul McCartney album.” And if Paul has not put any pressure on himself, then we as fans should not be holding him up to the highest standards, which is Paul McCartney himself. Always the absolute master of crafting pop melodies, there is no shortage of his strengths here; McCartney III shows that Paul has lost none of his skills as a first-rate musician.
McCartney III Is filled with innovative riffs and clever chord changes. Billed as loose and experimental, the former is true, but the album Is not as experimental as I would have liked. There is no Darkroom or Bogey Music here. Instead, we find a collection of songs with a similar feel to his fine 2005 album, Chaos and Creation in The Backyard.
The album opens with Long Tailed Winter Bird, a mostly instrumental song that would fit right in on any of his Fireman albums. The album closes with Winter Bird/When Winter Comes, which begins as a quick reprise of the opener and then transitions into a beautifully sweet lullaby. The closer was started in 1992 with George Martin. The perfect closing track which helps the album come full circle before sending the listener off with a smile. In between is, pun intended, pure McCartney. Lavatory Lil is a bouncy track with its fun lyrics “she says it’s hunky-dory when she’s telling you a story, but she really thinks you’re making her ill.” Slidin’ has a grand opening a la Only Mama Knows but the power pop song grabs you with captivating, manipulated vocals and harmonies. Seize the Day (with its great vocal) is a pure pop song with layered harmonies which would have been perfectly at home on New. Women and Wives is a piano driven song in which Macca sings in a style reminiscent of Lady Madonna. Deep Deep Feeling is an 8 minute plus opus which shows McCartney at his best and worst. Throughout his solo career, Paul has been known to release some songs that have gone on a bit too long, and while this one is experimental and mesmerizing, it just may fall into that category. It depends on my mood whether I want it to continue or not. The lyrics in the song say it better than I could, “sometimes I wish it would stay, sometimes I wish it would go away.” The Kiss of Venus is an acoustic ballad with Paul singing in a falsetto voice and it works. The rest of the album features Find A Way (a bit of experimental pop with simple lyrics and layered harmonies), Deep Down (a six minute song with its mesmerizing organ and nice brass effects) and Pretty Boys (an acoustic song which reminds me of the style of Early Days from New).
Nobody, including Macca, was expecting a new Paul McCartney album in 2020. Does it all work? Not always. I agree with other reviewers that the album doesn’t really kick in until the fourth song, but McCartney III brings enough good material to charm the listener into repeated listenings. If in another 10 years he wants to indulge again in more home-spun recordings and release them, I will be listening.
McCartney III Is filled with innovative riffs and clever chord changes. Billed as loose and experimental, the former is true, but the album Is not as experimental as I would have liked. There is no Darkroom or Bogey Music here. Instead, we find a collection of songs with a similar feel to his fine 2005 album, Chaos and Creation in The Backyard.
The album opens with Long Tailed Winter Bird, a mostly instrumental song that would fit right in on any of his Fireman albums. The album closes with Winter Bird/When Winter Comes, which begins as a quick reprise of the opener and then transitions into a beautifully sweet lullaby. The closer was started in 1992 with George Martin. The perfect closing track which helps the album come full circle before sending the listener off with a smile. In between is, pun intended, pure McCartney. Lavatory Lil is a bouncy track with its fun lyrics “she says it’s hunky-dory when she’s telling you a story, but she really thinks you’re making her ill.” Slidin’ has a grand opening a la Only Mama Knows but the power pop song grabs you with captivating, manipulated vocals and harmonies. Seize the Day (with its great vocal) is a pure pop song with layered harmonies which would have been perfectly at home on New. Women and Wives is a piano driven song in which Macca sings in a style reminiscent of Lady Madonna. Deep Deep Feeling is an 8 minute plus opus which shows McCartney at his best and worst. Throughout his solo career, Paul has been known to release some songs that have gone on a bit too long, and while this one is experimental and mesmerizing, it just may fall into that category. It depends on my mood whether I want it to continue or not. The lyrics in the song say it better than I could, “sometimes I wish it would stay, sometimes I wish it would go away.” The Kiss of Venus is an acoustic ballad with Paul singing in a falsetto voice and it works. The rest of the album features Find A Way (a bit of experimental pop with simple lyrics and layered harmonies), Deep Down (a six minute song with its mesmerizing organ and nice brass effects) and Pretty Boys (an acoustic song which reminds me of the style of Early Days from New).
Nobody, including Macca, was expecting a new Paul McCartney album in 2020. Does it all work? Not always. I agree with other reviewers that the album doesn’t really kick in until the fourth song, but McCartney III brings enough good material to charm the listener into repeated listenings. If in another 10 years he wants to indulge again in more home-spun recordings and release them, I will be listening.
"A Shutterful of Joys" : A Review of 'Linda McCartney. The Polaroid Diaries'
Taschen Books - 232 pages - Hardcover; Collector’s & Art Editions - October 2019
Linda Eastman was a well-respected rock music photographer long before she ever became Linda McCartney. A new book of her photos, titled "Linda McCartney.The Polaroid Diaries," shows it’s her association with the latter surname that helped widen her photographic vision, as she started a family and traveled the world. |
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The book is full of Polaroids taken throughout the "McCartney" years of her life and the text tells us Linda, an art history major at the University of Arizona, was a self-taught photographer who always strove for spontaneous, real moments which were unscripted.
Many of the instant pics are of her famous spouse and his friends, but just as many are of family, places, animals and people. Most subjects are not so famous, but equally fascinating as captured by Linda.
Looking at each photo, one can see why Linda felt the need to capture each subject. But the reader can also almost feel the joy and excitement of the photographer as she captured each moment for posterity.
If there’s a criticism, it relates to the captions which, while providing the approximate dates and place, fail to mention who or what we’re looking at. Yet, this shouldn’t deter fans of Linda the photographer from adding this fine collection to their bookshelves, although you may want to leave it on your coffee table so you can share Linda's special vision with others.
Find out more about, or purchase a copy of, "Linda McCartney.The Polaroid Diaries" at the Taschen.com website.
Many of the instant pics are of her famous spouse and his friends, but just as many are of family, places, animals and people. Most subjects are not so famous, but equally fascinating as captured by Linda.
Looking at each photo, one can see why Linda felt the need to capture each subject. But the reader can also almost feel the joy and excitement of the photographer as she captured each moment for posterity.
If there’s a criticism, it relates to the captions which, while providing the approximate dates and place, fail to mention who or what we’re looking at. Yet, this shouldn’t deter fans of Linda the photographer from adding this fine collection to their bookshelves, although you may want to leave it on your coffee table so you can share Linda's special vision with others.
Find out more about, or purchase a copy of, "Linda McCartney.The Polaroid Diaries" at the Taschen.com website.
GOOD TIMES
3.5 out of 5
The Monkees (Rhino Records)
By Mitch Axelrod – May 24, 2016
As the 50th anniversary (yes, I said 50!!) of The Monkees TV show approaches, and with the death of Davy Jones in 2012, it seemed unlikely that a NEW Monkees album would even be thought of as an option. Yes, we all knew some or all of The Monkees would be touring to celebrate the anniversary, but when a new album was announced, and all three surviving Monkees would be on it, I was optimistic, but extremely cautious about what I may hear. I have been a fan since 1966. I enjoy their music. In the interest of full disclosure, I didn’t discover ANY of The Monkees albums, post TV show, until later in life. As much as a fan as I am, I was a bit disappointed with past reunions and albums such as Pool It and Justus. Each has their special moments, but as a whole nothing blew me away.
Move ahead to May 2016 and the release of Good Times. I don’t know what it is or why, but whenever I listen to this collection of songs, I keep smiling like Scrooge at the end of the movie when he is always happy. “I don’t deserve to be happy,” says Scrooge. But after all these years WITHOUT a new Monkees album, the fans certainly deserve to be happy, and I think this CD just might do it for us.
I will NOT be judging Good Times against any Monkees contemporaries or even The Monkees themselves. First let me say that it is not a perfect album by any means, but it deserves a listen (or two, or three……..).
3.5 out of 5
The Monkees (Rhino Records)
By Mitch Axelrod – May 24, 2016
As the 50th anniversary (yes, I said 50!!) of The Monkees TV show approaches, and with the death of Davy Jones in 2012, it seemed unlikely that a NEW Monkees album would even be thought of as an option. Yes, we all knew some or all of The Monkees would be touring to celebrate the anniversary, but when a new album was announced, and all three surviving Monkees would be on it, I was optimistic, but extremely cautious about what I may hear. I have been a fan since 1966. I enjoy their music. In the interest of full disclosure, I didn’t discover ANY of The Monkees albums, post TV show, until later in life. As much as a fan as I am, I was a bit disappointed with past reunions and albums such as Pool It and Justus. Each has their special moments, but as a whole nothing blew me away.
Move ahead to May 2016 and the release of Good Times. I don’t know what it is or why, but whenever I listen to this collection of songs, I keep smiling like Scrooge at the end of the movie when he is always happy. “I don’t deserve to be happy,” says Scrooge. But after all these years WITHOUT a new Monkees album, the fans certainly deserve to be happy, and I think this CD just might do it for us.
I will NOT be judging Good Times against any Monkees contemporaries or even The Monkees themselves. First let me say that it is not a perfect album by any means, but it deserves a listen (or two, or three……..).
- Good Times – a song written by Harry Nilsson for The Monkees, which was ultimately rejected. The original session tapes were used to create a fast paced duet between Harry and Micky. A nice album opener with good harmonies by Micky. Original session players include Mike on guitar, and the late Eddie Hoh on drums. Recorded in January 1968 and February 2016.
- You Bring The Summer – written by Andy Partridge of XTC, this is a very upbeat, catchy song. Lyrics are a bit sappy and get cutesy, but overall, an enjoyable song. A good driving (in your car) song. Nice ending with harmonies by Peter and Mike. Some nice backward guitar work as well. And Mike and Peter play guitar with Peter also on the organ. Recorded in February and March 2016.
- She Makes Me Laugh – the first single. I just don’t know what to do with this song. Written by Rivers Cuomo of Weezer, the lyrics are so juvenile and trite that I almost cringe when I hear it but this song is such an earworm that I defy you to listen to it and NOT end up humming it! It is catchier than a cold and another great driving in your car song. And a nod to The Beatles “It Won’t Be Long” riff! Mike on guitar and Peter on banjo. Recorded February 2016.
- Our Own World – written by producer Adam Schlesinger, this is a very upbeat, bouncy number which you will be humming for a while, and not realize it. I have to admit that when this first came on, with the bouncy opening, I thought I was walking on to Sesame Street. That is not a knock on the song at all. Peter is also on keyboards. Recorded February 2016.
- Gotta Give It Time – by the time of the 5th song, I was starting to think this was a Micky solo album. Each song has through this one has Micky on lead. Written by Jeff Barry and Joey Levine, another upbeat song. Sounds like it could have been recorded in the ‘60’s. Nice Peter and Mike harmonies. Good, but not as memorable as the first four songs. Recorded January 1967 and February 2016.
- Me & Magdalena – the first real “ahhhhhh” moment for me. A really good, laid back Eagles-type song written by Death Cab for Cutie’s Ben Gibbard. It features Mike on lead vocals with some fantastic harmony vocals by Micky. It is so nice to hear Mike singing. No real middle eight blows flows nicely. A fine moment on this album. Recorded February and March 2016.
- Whatever’s Right – written by Monkees long time songwriters Tommy Boyce and Bobby Hart, this song could be fit into any Monkees episode as a romp song!! Nice use of 12 string guitar. Starts off a BIT in the vein of “Teardrop City.” Another 60’s throwback that fits perfectly on this album. Nice vocals all around. Peter is on keyboards. Coco Dolenz and Bobby Hart are also on vocals. Recorded February and March 2016.
- Love To Love – I had heard, and maybe mistakenly so, that this song was going to be used for the vocals only and The Monkees would create a new instrumental track around Davy’s singing. So when I heard this, I was, and still am, a bit disappointed. I am so glad Davy is represented, but this track feels a bit out of place. It is a single tracked vocal with some new harmonies added by Micky and Peter. Yes, we have heard this before, but it truly is nice to hear Davy’s voice again on an album. Written by Neil Diamond. Recorded January and February 1967, August 1969 and February 2016.
- Little Girl – originally written by Peter Tork as “Sunny Side Up.” Peter has stated that he wanted to write a new “beach song” for Davy to sing as a follow up to “I Wanna Be Free.” The vocal is okay, but never really goes anywhere. But never fear, a great Peter song is near – more later! Recorded February 2016.
- Birth Of An Accidental Hipster – where do I start?!?!? Written by Noel Gallagher (Oasis) and Paul Weller (The Jam), this song blew me away. It is a type of suite with Mike and Micky featured on vocals. Until now, I thought the writers were writing for that “Monkees sound.” With this song, I think Gallagher and Weller have created a song which is a bit out of the comfort zone for The Monkees, and I’m glad they did. Sounds a tiny bit like “Tapioca Tundra.” A song from 2016 that harkens back to 1967 or 1968. My current favorite song on the album. And Coco Dolenz is on vocals. Recorded February and March 2016.
- I Wasn’t Born To Follow – here is the great Peter vocal I mentioned earlier. Written by Carole King and Gerry Goffin, this song fits Peter very nicely. He does some really fine banjo work on this track. Again, no real middle eight, but a good, laid back song. Recorded March 1968 and February 2016.
- I Know What I Know – a long song written by Mike Nesmith. It is a simple, yet effective piano song. Nice orchestration work on this track. Mike strains just a bit with his vocals but it suits the song. I think this should have been the album closer as it could be thought of as a love song to the fans. Recorded in February 2016.
- I Was There (And I’m Told I Had a Good Time) – Micky always tells the story of his time in London when The Beatles had a party for The Monkees during the recording of “Sgt. Pepper.” He states that he was there and he has been told he had a good time, hence the title. Starts with a bit of orchestra tuning up in the same vein as “Sgt. Pepper.” Co-written with Adam Schlesinger, this song tries too hard to utilize the story. Sounds like it could have been a Rutles song. Micky on drums. Recorded in February and April 2016.
Paul McCartney
"New" - Hear Music: 3 out of 5 stars
Paul McCartney has written songs for over 50 years so you would think that by now he would have run out of catchy melodies. His last few solo efforts have certainly given no indication of "losing it," giving us VERY catchy songs like "Fine Line," "Only Mama Knows," and "Sing The Changes." But it's been over 6 years since we've had a proper Paul McCartney solo album of original songs (not counting The Fireman). So when "Tweets" from Paul's camp started giving us clues to a "New" album, there was a bit of trepidation on my part. After all, the man IS over 71 years old and his voice has DEFINITELY changed over the years. Then suddenly, there it was, a "New" song from the master song smith. Would it be good? Would he sound like Paul McCartney is expected to sound? Would the "New" song have a quirky title?
The answer to every one of these questions is a resounding YES! Obviously by now you know the title of the song is "New." Now I must admit that I listened to the song a good 3 or 4 times and I was not that impressed. Yes, it is very catchy but does that make it a GOOD song? I asked a few colleagues about the quandary I was in. I WANTED to like it so much but I said I would sleep on it and listen again in the morning. Went to the refrigerator to grab a snack, and I found myself singing "New." I was brushing my teeth and, lo and behold, yup, singing "New." Woke up in the morning and hopped in the shower. You guessed it, started singing "New." Damn that Paul McCartney. He was doing it again. Infiltrating my head with a bouncy, catchy melody just as he has for the past 50 years! How could I make it stop? It seems that everywhere I went, the little voice inside my head was not me. It was....Paul McCartney and that darn "New" song.
Things got worse. I went with my kids, ages 11 and 9, to 7-11 for a Slurpee. I heard the voices again but, hey, it wasn't ME! It was MY KIDS singing that damned "New" song. At this point, I finally gave in to the inevitable and let Macca mania take over. YES, I admit it, the "New" song has totally grown on me! This is approximately 3 minutes of pure pop magic. The lyrics, obviously written for his bride Nancy, are pleasant enough but it's the upbeat, bouncy music that really draws you in. It's definitely a cross between "Penny Lane" and "Good Day Sunshine." I hate comparing solo Paul to his alter ego of Beatle Paul, but in this case, it is a complete compliment. Okay, his voice wavers a bit but it doesn't take away anything from the song. The production by Mark Ronson is slick but the song is not over produced. And the "Beach Boys" style ending is a nice nod to Brian Wilson. What a perfect way to end the Summer. And a very nice precursor to the full CD of the same name coming in October.
So now I offer you a challenge. Listen to the song "New" and tell me it's NOT the "song you can't stop humming." Go ahead, listen a few times and tell me I'm wrong. As Robert Conrad used to say in that battery commercial, "I dare you." It will sit within the core of your brain until you TOO give in to the epidemic called McCartney! Don't fight it. Just sit back, enjoy and embrace it!
The answer to every one of these questions is a resounding YES! Obviously by now you know the title of the song is "New." Now I must admit that I listened to the song a good 3 or 4 times and I was not that impressed. Yes, it is very catchy but does that make it a GOOD song? I asked a few colleagues about the quandary I was in. I WANTED to like it so much but I said I would sleep on it and listen again in the morning. Went to the refrigerator to grab a snack, and I found myself singing "New." I was brushing my teeth and, lo and behold, yup, singing "New." Woke up in the morning and hopped in the shower. You guessed it, started singing "New." Damn that Paul McCartney. He was doing it again. Infiltrating my head with a bouncy, catchy melody just as he has for the past 50 years! How could I make it stop? It seems that everywhere I went, the little voice inside my head was not me. It was....Paul McCartney and that darn "New" song.
Things got worse. I went with my kids, ages 11 and 9, to 7-11 for a Slurpee. I heard the voices again but, hey, it wasn't ME! It was MY KIDS singing that damned "New" song. At this point, I finally gave in to the inevitable and let Macca mania take over. YES, I admit it, the "New" song has totally grown on me! This is approximately 3 minutes of pure pop magic. The lyrics, obviously written for his bride Nancy, are pleasant enough but it's the upbeat, bouncy music that really draws you in. It's definitely a cross between "Penny Lane" and "Good Day Sunshine." I hate comparing solo Paul to his alter ego of Beatle Paul, but in this case, it is a complete compliment. Okay, his voice wavers a bit but it doesn't take away anything from the song. The production by Mark Ronson is slick but the song is not over produced. And the "Beach Boys" style ending is a nice nod to Brian Wilson. What a perfect way to end the Summer. And a very nice precursor to the full CD of the same name coming in October.
So now I offer you a challenge. Listen to the song "New" and tell me it's NOT the "song you can't stop humming." Go ahead, listen a few times and tell me I'm wrong. As Robert Conrad used to say in that battery commercial, "I dare you." It will sit within the core of your brain until you TOO give in to the epidemic called McCartney! Don't fight it. Just sit back, enjoy and embrace it!
Paul McCartney's Live Kisses - Great Performances Series
Friday, September 7, 2012 on PBS (check local listings) Color/B&W
(NOTE: As of the writing of this review, it was announced that a DVD of "Live Kisses" will be released on November 12, 2012 by Eagle Rock Entertainment. It will be an expanded version of the PBS special and will be released in regular and Blu-ray editions.)
On February 9, 2012, Paul McCartney was given a star on the Hollywood Walk of Fame. To celebrate the momentous occasion, Paul reunited with the band that played on the critically acclaimed, "Kisses On The Bottom" CD for a live performance of some of the songs on the album. (Yes, I said ALBUM. I know, I'm old!) Before the performance, Paul is seen walking down the hallowed hallway of the Capitol Records building, stopping to remark at some of the pictures of the incredible performers who had once recorded there!
Situated in Capitol Records Studio A, where most of the songs on the CD were recorded, McCartney and the band (actually Diana Krall's excellent band) breeze through ten numbers as mellifluously as hands running through silk.
The songs in the special:
I'm Gonna Sit Right Down, and Write Myself A Letter
Home (Where Shadows Fall)
The Glory of Love
More I Cannot Wish You
Ac-Cent-Tchu-Ate The Positive
My Valentine
Always
My Very Good Friend The Milkman Says
Bye, Bye, Blackbird
Get Yourself Another Fool
Filmed in black and white and originally shown on iTunes, this special is NOT the same as the iTunes exclusive. There is a lot more content here that intersperses nicely with the actual performance. McCartney is clearly the center of attention, as he is seated on a high stool overlooking the band and the audience. And although he seems a bit uncomfortable not having a guitar strapped on, often moving his hands in the air a bit awkwardly, Paul seems perfectly at home singing the songs that he grew up with and that have special meaning to him. And he is not selfish. The special showcases not only Paul, but all of the superb players surrounding him. Viewers are often treated to shots framing Paul and a specific player in the same camera shot. Before each song, McCartney speaks about why he chose it, along with his recollections of hearing it. We then see the original label of each 78 RPM, which gives a nice historical touch for those that have never seen the records, or even KNOW what a 78 RPM is!
As soon as the songs began, the one thing that jumped out at me was how up front the vocals are as compared to the CD. Songs like "Home," "Always," and "Bye Bye Blackbird" benefit greatly from the new mix, as they emanate a lot more warmth than is heard on the record. Seeing Paul sing them also enhances the listening experience, since emotions play a large part in his execution of the material. This shows most on "More I Cannot Wish You," which he tells his audience really "gets to him." He relates the same story as in the CD liner notes about a parent singing to a child. But with the added benefit of seeing his face after the song ends, you can tell he REALLY means it when he says he gets emotional. I believe many viewers will too!
Fine post-production work adds to this pleasurable watch, with poignant photos of Paul and his family interspersed throughout the song, "Home," some of which I can't recall ever seeing. Lyrics are provided for the song "The Glory of Love," and we see Paul as he relates recording "Kisses" to recording with The Beatles while often-seen studio footage is shown in the background. There are segments of band members and studio personnel relaying stories about the songs and their experience recording them with Macca. And even though Paul is singing old standards, he stays timely by having his current drummer, Abe Laboriel J., sing harmonies throughout the special. The original artist photos and footage, and the never before seen "making of "Kisses" footage rounds out a grand hour of music!
I don't want to give any more away. I think you will thoroughly enjoy watching what is clearly a labor of love from someone who definitely doesn't need to do something like this, but does it because he truly cares about the music. I may even throw the "Kisses" CD in my car player on the way to work tomorrow! This show certainly makes me appreciate the album so much more. Enjoy.
The program was directed by Jonas Akerlund, and produced by Paul McCartney.
Visit Great Performances online at www.pbs.org/gperf
On February 9, 2012, Paul McCartney was given a star on the Hollywood Walk of Fame. To celebrate the momentous occasion, Paul reunited with the band that played on the critically acclaimed, "Kisses On The Bottom" CD for a live performance of some of the songs on the album. (Yes, I said ALBUM. I know, I'm old!) Before the performance, Paul is seen walking down the hallowed hallway of the Capitol Records building, stopping to remark at some of the pictures of the incredible performers who had once recorded there!
Situated in Capitol Records Studio A, where most of the songs on the CD were recorded, McCartney and the band (actually Diana Krall's excellent band) breeze through ten numbers as mellifluously as hands running through silk.
The songs in the special:
I'm Gonna Sit Right Down, and Write Myself A Letter
Home (Where Shadows Fall)
The Glory of Love
More I Cannot Wish You
Ac-Cent-Tchu-Ate The Positive
My Valentine
Always
My Very Good Friend The Milkman Says
Bye, Bye, Blackbird
Get Yourself Another Fool
Filmed in black and white and originally shown on iTunes, this special is NOT the same as the iTunes exclusive. There is a lot more content here that intersperses nicely with the actual performance. McCartney is clearly the center of attention, as he is seated on a high stool overlooking the band and the audience. And although he seems a bit uncomfortable not having a guitar strapped on, often moving his hands in the air a bit awkwardly, Paul seems perfectly at home singing the songs that he grew up with and that have special meaning to him. And he is not selfish. The special showcases not only Paul, but all of the superb players surrounding him. Viewers are often treated to shots framing Paul and a specific player in the same camera shot. Before each song, McCartney speaks about why he chose it, along with his recollections of hearing it. We then see the original label of each 78 RPM, which gives a nice historical touch for those that have never seen the records, or even KNOW what a 78 RPM is!
As soon as the songs began, the one thing that jumped out at me was how up front the vocals are as compared to the CD. Songs like "Home," "Always," and "Bye Bye Blackbird" benefit greatly from the new mix, as they emanate a lot more warmth than is heard on the record. Seeing Paul sing them also enhances the listening experience, since emotions play a large part in his execution of the material. This shows most on "More I Cannot Wish You," which he tells his audience really "gets to him." He relates the same story as in the CD liner notes about a parent singing to a child. But with the added benefit of seeing his face after the song ends, you can tell he REALLY means it when he says he gets emotional. I believe many viewers will too!
Fine post-production work adds to this pleasurable watch, with poignant photos of Paul and his family interspersed throughout the song, "Home," some of which I can't recall ever seeing. Lyrics are provided for the song "The Glory of Love," and we see Paul as he relates recording "Kisses" to recording with The Beatles while often-seen studio footage is shown in the background. There are segments of band members and studio personnel relaying stories about the songs and their experience recording them with Macca. And even though Paul is singing old standards, he stays timely by having his current drummer, Abe Laboriel J., sing harmonies throughout the special. The original artist photos and footage, and the never before seen "making of "Kisses" footage rounds out a grand hour of music!
I don't want to give any more away. I think you will thoroughly enjoy watching what is clearly a labor of love from someone who definitely doesn't need to do something like this, but does it because he truly cares about the music. I may even throw the "Kisses" CD in my car player on the way to work tomorrow! This show certainly makes me appreciate the album so much more. Enjoy.
The program was directed by Jonas Akerlund, and produced by Paul McCartney.
Visit Great Performances online at www.pbs.org/gperf
Susannah Hoffs - Someday (Baroque Folk, 2012)
Susanna Hoffs has nothing to prove. She continues to be in a very successful group, collaborated with Matthew Sweet on a couple of fantastic “cover” CD’s, been in, and had songs in, movies, and has had a nice, if unnoticed, solo career. So when I received my copy of her latest solo CD Someday, I listened with pure anticipation, but with a smidge of trepidation. I listened to the entire CD three times. The first time was to get the overall feel of the CD. The second time to catch some of the lyrics, and the third time….AH HA!!!!!!!! Yes, the third time listening gave me my “AH HA” moment that I always hope to get when listening to any piece of music.
This CD does not sound like anything else Susanna Hoffs has ever recorded. For the most part, this collection of songs is very understated, organic sounding and very poignant. To me, this is her “Joni Mitchell” type CD where she shows her chops as a true singer/songwriter. This time, her collaborator on most songs is Andrew Brassell, a Nashville musician. This may explain the laid back, understated feel of the CD. Let’s start with that voice. Hoffs has one of the most recognizable voices in pop music. After all these years, it is still silky smooth. Yes, she does strain a bit when it comes to certain notes but, while for others it becomes a distraction, for her, the raspiness sounds almost sultry which fits in perfectly with the feel of the songs.
The production of the songs is a bit lightweight. There is orchestration on most of this CD which could lead some listeners to think that most songs sound alike. There is never a point where Hoffs tries to become a part of her past. Never a pounding drumbeat to kick a song into motion. Too bad because given a heavier pop feel, a song like “One Day” (a very fine song) could easily have been a force to be reckoned with on radio. One of the lyrics of the song is “gonna white out all of my past.” Ironic since out of all of the songs on the CD, “One Day” is the one that evokes her past the most. If it was intentional, then kudos for a nice touch. There are some gems here. The opening track, “November Sun” has some beautiful harmonies and the line, “though you’re here, it’s like I’m all alone,” which is poignant considering the yearning nature of the song. “All I Need” and “Raining” are additional standouts. Don’t expect a Bangles record. No, Susanna Hoffs is evolving. Sounding very content, she has given her fans a fine, mature record. Let’s just hope that it finds an audience that reaches far beyond her fans. It would be a shame if this was not heard.
This CD does not sound like anything else Susanna Hoffs has ever recorded. For the most part, this collection of songs is very understated, organic sounding and very poignant. To me, this is her “Joni Mitchell” type CD where she shows her chops as a true singer/songwriter. This time, her collaborator on most songs is Andrew Brassell, a Nashville musician. This may explain the laid back, understated feel of the CD. Let’s start with that voice. Hoffs has one of the most recognizable voices in pop music. After all these years, it is still silky smooth. Yes, she does strain a bit when it comes to certain notes but, while for others it becomes a distraction, for her, the raspiness sounds almost sultry which fits in perfectly with the feel of the songs.
The production of the songs is a bit lightweight. There is orchestration on most of this CD which could lead some listeners to think that most songs sound alike. There is never a point where Hoffs tries to become a part of her past. Never a pounding drumbeat to kick a song into motion. Too bad because given a heavier pop feel, a song like “One Day” (a very fine song) could easily have been a force to be reckoned with on radio. One of the lyrics of the song is “gonna white out all of my past.” Ironic since out of all of the songs on the CD, “One Day” is the one that evokes her past the most. If it was intentional, then kudos for a nice touch. There are some gems here. The opening track, “November Sun” has some beautiful harmonies and the line, “though you’re here, it’s like I’m all alone,” which is poignant considering the yearning nature of the song. “All I Need” and “Raining” are additional standouts. Don’t expect a Bangles record. No, Susanna Hoffs is evolving. Sounding very content, she has given her fans a fine, mature record. Let’s just hope that it finds an audience that reaches far beyond her fans. It would be a shame if this was not heard.
