Saturday, July 11, 2009

Cover of the Week 36

Like most people my age, Motown was a given, as omnipresent as the Beatles from my first waking moment. It was still a vital label and musical force, adapting to the changing times, as I became more conscious of pop music and the artists creating it during the early 1970s, with records from Marvin Gaye, Stevie Wonder, the Temptations, and the Jackson 5 filling the radio. And as with most people my age, the Jackson 5 were particularly relevant for me. They were just a bunch of kids, fronted by this soulful little singer and smooth dance, Michael. Along with the Beatles cartoons, there was a Jackson 5 cartoon on Saturday mornings. And I had a 45 of “ABC” on cardboard that you could cut out of the back of a Frosted Flakes cereal box. Remember those? Square little cardboard records with a round inlay of vinyl grooves to play on a turntable. I had to be careful that the corners did not fold up or they would hit the needle arm. We had white and black kids in our classes. The Jackson 5 seemed to be for all of us. There was one kid who was taking his second tour of kindergarten, a kid much bigger physically than I was, who, with a few other kids, often built a stage in Mrs. Hall's classroom out of those big hollow plywood blocks. When I brought the cereal-box record in to share and impress them with my shared enthusiasm for the Jackson 5, the two-time kindergarten veteran suggested that I give it to him. When I demurred, he knocked me down, put his sneaker on my face, and took the record without asking me again. But I sensed I was in.

I ever got much beyond those original Jackson 5 singles. Yeah, Off the Wall was around later and enjoyable. But it seemed so smooth and pop light to me when I was more heavily into rock music. And Thriller was something that my kid brothers and sisters had around and was ubiquitous on MTV, but it was with this record in particular that Michael went on to represent much of what I hated about 1980s mainstream pop music; it was slick, cheap sounding, machinated-groove sequences with vocal tracks polished and layered beyond human soulfulness. It was just cheesy to me. Very few of the songs until “Do You Remember,” or “Black and White” did much for me and even those latter two are enjoyable on only a lightweight pop kind of way.

I won’t even get into the freakishness of Michael tragically falling away on a personal level; it has been covered, I believe, by now. It was just not relevant to my life. It was a sideshow from an artist who provided very little music that registered on my radar.

And I am not intending to just lay out some negative karma about Michael in the wake if his death and the subsequent surrounding hoopla. Neither am I trying to draw a direct parallel nor contrast him with Stevie Wonder. But the parallels are undeniably there: two inner-city kids who started out as children/young adolescents on Berry Gordy’s Motown label. But Stevie had already scored a bunch of hit singles and was on his way to making big artistic statements in the album format by the time Michael and his brothers rolled around.

However, while Stevie Wonder also eventually fell into 1980s pap and fluff, he provided one of the greatest streaks of albums and singles in the history of pop music. Perhaps only rivaled for my taste by the Beatles and Stones. And he remains a highly vital performer today. Seeing him perform a couple of years ago was as close to a religious experience as I have gotten. Here was a guy who grew up to completely fulfill -- and then some -- the promise he laid out as a prodigy. I was about the age of both of these guys when they started out as child performers, 10, when I bought my first album purchase, Stevie Wonder’s Songs in the Key of Life. I had long ago inherited albums by the Stones, Dylan, the Beach Boys, Mamas and Poppas, etc. My parents had some Elvis LPs. And I had a big rope of 45s from the British Invasion and, later, contemporary top 40 songs I bought on my own. But the first album I remember buying is Songs in the Key of Life . This was a double album with an accompanying booklet and additional 45-sized 4-song “single.” The music was just bursting out of Stevie to the point that it spilled out off of a double LP into another bonus single. I had never seen anything like it before. The bonus record included this incredible piece of updated New Orleans piano funk called “Ebony Eyes.” I played this track until the record wore off. And then, somewhere down the line, it broke and/or got lost.

In college, at a record store maybe, or digging through someone else’s record collection in my dorm, I came across this 45 again and it was like finding the Lost Ark. I had not listened to the tune probably since before high school. It had probably been five years since I had heard it, as this is not a song I have ever heard on the radio, to this day. My friends at college were ecstatic to learn of this track and it quickly became a staple in the dorm DJ sessions we would spin while drinking and doing whatever else one does in college dorms.

Later, Songs in the Key of Life was one of the first CDs I picked up when that format came out, and there was my old favorite in digital format. And of course, nowadays it is always there to pop up on the iPod. When it came time for the residencies at the bar gigs I started doing with the two iterations of Crown Victoria, we started rotating a Faces-like version into the set. So it is a natural that I try it here in the Cover of the Week project. I have enlisted by rock & roll brother, foil, and piano man from Buffalo Tom and Crown Victoria to accompany me. Phil Aiken sent me the track he did back in the Dr. John/Professor Longhair tradition, bringing the song back a little toward New Orleans. I had intended to lay some guitar over it, but Phil played such a beautiful part that I saw no need to sully it with half-assed guitar. And it serves as a nice change of pace, I think. Major props to Philly Phil Aiken.


Ebony Eyes (featuring Phil Aiken) mp3

5 comments:

Neil Jung said...

You should tackle the creepy Everly Bros tune of the same name, with the extended spoken-work verse. Morbid.

"Rob, top 5 musical crimes perpetrated by Stevie Wonder in the 80s and 90s - go. SUB-QUESTION: Is it in fact, unfair to criticize a formerly great artist for his latter-day sins? Is it better to burn out than to fade AWAY?"

Adam said...

Looks like cover of the week is a hit in Italy......Giuseppe is spreading the word...

http://takethesongsandrun.wordpress.com/2009/06/29/song-of-the-day-bill-janovitz-wendell-gee/

Bullseye Studio said...

Hey Bill,
I've been a faithful follower of this blog, and love all the gems you've posted. There's so many connections with you and your music that I've identified with....but none so strong as this one.
When you said that Stevie's "Songs In The Key Of Life" album was the first you actually purchased on your own....you had me. I'm a couple years older than you (46) and my 1st album that I purchased at the age of 10 was Stevie's "Talking Book", because I was in love with "Superstition" and it's groove that had me tapping my hands to it at the supper table and getting myself in trouble as a result! ...so I just felt I needed to share that connection with you....Keep doing what you're doing...I love it!
By the way...."Songs In The Key Of Life" is a masterpiece that can't be overstated. From start to finish it's a gift given to the world from a gifted musician!

Andy Coff said...

THANK YOU!. Brave man taking on a Stevie Wonder cover. Good work I say.

When I sing along to him I sound like a complete idiot as some of the notes he hits are way beyond me. Oh well I won't stop that's for sure.

Reminds me of when I sing along to 'Tailights Fade', verse...no problem whatsoever...along comes the chorus and the notes are so high my face starts going red, the veins start popping out of my neck and my eyes bulge - those are high notes!

Comparing Stevie Wonder to Michael Jackson is interesting as well, both child stars, both great distinctive voices and songwriters. But what happened to Michael? He just seemed to drift off into another mysterious world. How did he write his songs? What instruments did he play if any? Did someone else write the music and he just wrote the melodies? I can't seem to find answers to these questions anywhere.

I'm not moved or inclined to listen to his new music but I think he captured my imagination in the 80s when I was a little kid, with the 'Thriller' video and 'Off the Wall' albums. I had no idea what production was but I knew I thought the 'moonwalk' was the most amazing thing I'd ever seen.

But the truth is in my opinion he doesn't come close to Stevies level. Michael Jackson stired my imagination as a kid like the 'a-team' or 'airwolf' or 'ghostbusters' did whereas Stevie Wonder hits a spot so much deeper than that.

He recently came to England to play a run at the O2 arena here. This is a huge venue and the place where Michael was going to play his 50 shows (50 SHOWS! This in itself seems very strange? How was the painfully thin and slight Michael Jackson going to manage 50 shows of intense performance and dancing? another mysterious question).

I bought tickets for 4 nights of the Stevie Wonder shows.

It would be an understatement to say these shows were fantastic.

Strangely enough I expected all the 'hits' but all performances were full of rare album tracks. He started with a great cover of a Miles Davis song.

I recently came aross a website that listed all of the songs Stevie has written for other artists and the list is mindboggling. In the 1970's he was releasing milestone album after album. He was writing so many songs he gave alot of them away to other artists.

I cannot believe original demos/versions of those 1970s songs are sitting in a vault somewhere with Stevie playing and singing on them. Maybe one day we'll get to hear them.

There's an interesting clip on youtube of the Rolling Stones in '72 playing 'uptight' and 'Satisfaction' the footage is all grainy and the sound is muddy BUT it's one of those moments where you think 'F**k, I WISH I was there!

Another clip on youtube is a clip of Eddie Murphy dressed as Stevie Wonder. Eddie does a great impression of Stevie, singing 'my cherie amour' and when I first saw it I thought that's great, maybe almost as good as Stevie.

BUT then in comes the real Stevie Wonder and he starts singing the REAL version 'accapella' and MY G*D HE HAS A VOICE! He just shatters Eddie Murphys impression into tiny pieces and it puts a lump in my throat whenever I watch it.

Andy Coff said...

I'm not sure of the etiquette of posting youtube links in answers to blogs but people have to see these babies!

Here are the clips I was talking about (the full clip is on the Saturday Night Live Eddie Murphy DVD):

Eddie Murphy Clip:
http://www.youtube.com/watch?v=Jef8RGqqFsw

Rolling Stones/Stevie Wonder
http://www.youtube.com/watch?v=vqLVPBLbcIU

Stevie Wonder 'Awesome Sesame Street Song':
http://www.youtube.com/watch?v=NN_CIn7Z8rk