I listened to this tune for about a minute and a half and couldn’t think of a thing to say. It’s a really pretty song, as most Coldplay songs are, and I think that’s the problem. Since they released X&Y in 2005, they’ve seemed to work on perfecting their very specific sound. Viva La Vida was the last album I feel was a stretch for them. And this isn’t meant to rip Coldplay apart, they could release 10 albums of “their” musical sound and I’d love each one. I just don’t know how much evolution the band has left, based strictly on the evidence from Mylo Xyloto. It’s a great album, but it’s no different thematically or musically from the last few. This particular song highlights that pretty well. A really nice acoustic guitar strum, layered with ephemeral, reverbed and echoed electric guitar riffs. Don’t get me wrong, this is a gorgeous song. It’s inspiring. It’s just not a stretch for Coldplay.
One of the very newest additions to my Top 1000, as this album just came out four days ago. I’ll do my best to focus on the song itself rather than the entire album, about which I have a lot of thoughts. Confession time, I had zero clue when I first saw the track list of Paradise Valley that this was a cover. It was only after looking at liner notes that I saw this was originally a J.J. Cale tune. Which was an interesting connection to make, because when I first heard this song, I immediately thought of anything Eric Clapton has done past the year 2001. This is a smooth little number that meanders along at a nice little clip, and JM’s guitar tone is seriously a carbon copy of recent Clapton. Again, this isn’t bad, it’s just nearing a bit too close to derivative for me. For my money, JM has a dicey track record when it comes to covers:
- Hendrix’s “Bold As Love” – A
- Cream’s “Crossroads” – C-
- Tom Petty’s “Free Fallin'” – A+
- Police’s “Message In A Bottle” – B-
- Ray Charles’ “I Got A Woman” – A
Throw this song on that list and I give it a B. It’s a nice song, pretty fun, good for a few listens, but it’s just so easy to not realize it is on until after it ends and you realize there is silence or another song started. There’s no reason I’d listen to this one twice in a row.
Good grief! This is as close to a Charlie Brown song as we’ll probably get on this list. Vince Guaraldi is the genius behind all of the music of the Charlie Brown cartoons from the ’60s, and therefore is the genius behind the sound of my every single Christmas season. This is one of his explicitly non-Charlie Brown themed albums, and it’s by far my favorite. Guaraldi had this style of piano playing that was so very unique. That’s why you can hear when a Charlie Brown cartoon is on. His style was so distinctive, and it permeates all the music he released. This album is full of rhythms that change ever so slightly, song sections that highlight drum brushes and hi-hats, bouncy upright bass (imagine Pigpen playing it), and Guaraldi’s own wandering riffs. I feel like to play his music well, you’d have to look kind of dopey. Just loose and silly and behind the beat a tad. That’s what this song feels like to me, just a tad dopey. Not caring what section comes next or how to nail the transition. It keeps it very light and colorful.
This is the opening track off of my favorite Clapton record. I’m not sure why, but my ear tends to gravitate toward smoother, fully-produced music. I love studio-recorded music that’s been tweaked and engineered and mastered well. This album is the second in a phase-change in Clapton’s career. Pilgrim started this move towards blues-based pop songs with slick production, and this album perfected it. This song is a beautiful instrumental, and the tone of Clapton’s electric is what I wish I could always make my guitar sound like. It overlays a very bossa nova rhythm section, with brushes and some pretty awesome rhythmic finger picked acoustic guitar. For any aspiring lead guitarists, this tune is also a fantastic exercise. I learned the entire lead guitar part note for note, and it was a great lesson in how to construct an awesome solo, how to incorporate great blues licks in a non-blues style, and simply how to get your fingers to move fast. Clapton’s entire lead part on this song is an exercise in understated soloing. He creates a memorable lead line without overtaking or monopolizing the entire song, which is awesome. Clapton’s versatility shines so brightly here.
Another fascinating tune off of BF and Hornby’s collaborative album. What’s interesting is that Lonely Avenue was written in the style of the men BF sings about in this song, and that title is even an homage to one of the biggest hits they wrote. Doc Pomus was a songwriter in the ’50s and ’60s, writing songs for a host of popular artists including Ray Charles, Elvis Presley & and Dr. John. He often collaborated with Mort Shuman; Shuman providing music while Doc Pomus would write the lyrics (how BF and Hornby created this album). Doc Pomus was stricken with polio as a child and was in crutches or a wheelchair for his whole life. This song describes a bit of his life, where he spent his time, celebrities with whom he rubbed elbows, and the normal/crazy folk he came in contact with and who provided inspiration for his songs. This song almost becomes a sort of statement on songwriting as a therapeutic output. The second verse/last tag is a reference to how Doc Pomus described himself later in life:
And he could never be one of those happy cripples / the kind that smile and tell you life’s OK / He was mad as hell, frightened and bitter / He found a way to make his isolation pay
It’s also a very musically Ben Folds song. One of the great things about BF’s music is that it all sounds very Ben Folds without sounding overly derivative or incestuous. He doesn’t ever really need to shoot for far outside his wheelhouse because he’s got such an eclectic songwriting style that allows for a wide range of sounds and styles. This song is a great example of the Ben Folds sound in the post 2005 world.