Archive for the ‘Rickie Lee Jones’ Category

Make no mistake: We have been here before. The 1918-20 flu pandemic infected some 500 million people around the globe, with experts citing anywhere from 17 to 100 million succumbing to it. Social-distancing measures were employed in some U.S. cities, and while they fared much better health-wise than those that didn’t, they suffered economic downturns. Life looked like it might be forever changed. But it wasn’t. As this World Economic Forum article shows, once the flu faded away, life pretty much picked up where it had left off.

That doesn’t lessen the stress of today’s stay-at-home orders, grocery shortages, economic disruptions and the incompetent federal response, mind you, or the fear of falling victim to COVID-19. The days may blur into weeks and the weeks may soon morph into months, but we, as a people, will endure.

That said, to me it feels like we’re stuck in the opening stanza of “Band on the Run” by Paul McCartney and Wings: “Stuck inside these four walls/never seeing no one…”

I haven’t been listening to much in the way of new music these days, preferring instead to treat the isolation blues with a heap of old favorites, including (but not limited to) McCartney, Rumer, Bob Seger, Bruce Springsteen, Suzanne Vega, Neil Young and, though she’s not “old” per se, Courtney Marie Andrews. There’s a comfort to be found in their tried-and-true grooves. They soothe the soul.

I thought I’d share select songs from some of them today.

Courtney Marie tapped into the collective unconscious for her 2016 Honest Life album, a set o’ songs I consider one of the best of the 2010s. “Put the Fire Out” slays me every time I hear it, especially when the backup voices come in on “hear the rock ’n’ roll at the Blue Moon Tavern.”

On a not unrelated subject, I experienced something of a spacetime anomaly in early March when I celebrated my 30th anniversary at my 23-year-old company. (I was grandfathered in during several takeovers, for those curious.) Anyway, the company doles out virtual tokens for such events, which can then be used to pick out a reward or rewards from a fairly extensive catalog. I used mine to get Diane the latest iPad Mini and both of us the Apple HomePod, as I’ve wanted one since it was first introduced. It may not be an audiophile’s dream, but the sound is excellent – and we subscribe to Apple Music, so it works out.

The first thing I asked Siri to play is a song I never tire of:

This morning’s picks included Van Morrison’s Inarticulate Speech of the Heart, which flows through and buttresses the soul like few others. It’s been one of my favorites of his since first hearing it during my college years; the poetic “Rave on John Donne” with its literary references and floating saxophone stops time for me.

Last night, I watched the April 7, 1979 episode of Saturday Night Live on Hulu, though not for the skits but the musical guest: Rickie Lee Jones, who performed “Chuck E.’s in Love” and “Coolsville.” This morning, after Van, I played her debut for what must be the 1000th time in my life (okay, maybe I’m exaggerating!). It sounds as fresh today as it did in 1979.

Stay safe, people. 

It’s been a few months since I blasted into the past, and the long break makes it all the more mind-blowing to think that I wasn’t just alive 40 years ago this day, but was fully cognizant of the world around me – well, as fully cognizant as a 13-going-on-14-year-old can be. 

To better set the mood for this particular post: It was a Saturday, and the weather in my Delaware Valley neighborhood was, in a word, wondrous: The temperature peaked at 84 Fahrenheit degrees in the afternoon, and the blue sky was mostly free of clouds.

The biggest news of the day, as indicated by the above screenshot from the Philadelphia Inquirer, was the decision of Pennsylvania governor Dick Thornburgh, a Republican, to back a 3-cent-per-gallon gas tax to fund PennDOT (aka the Pennsylvania Department of Transportation). Then, as now, potholes needed to be filled! Another, even more steep increase in fuel costs was hidden further down the front page, however: Coffee prices were expected to rise by 40 cents due to a recent frost in Brazil.

Desmond Ryan, the Philadelphia Inquirer’s movie critic, reviews the new film “Walk Proud” on Page 5A; it’s a movie I’ve never heard of but, apparently, earned some notoriety for casting white-bread Robby Benson as a Chicano gang leader. That’s not why I’m highlighting the movie section, however. This tidbit, from Ryan’s “On Movies” column, is:

Allan Carr’s “Discoland,” for those willfully ignorant of yesteryear kitsch culture, found its way into the movie theaters the following June as “Can’t Stop the Music,” and the new title proved oxymoronic given that the disco beats on the soundtrack had plummeted from popularity by then. Not that this week’s charts hint at the downfall.

Closer to home: I’ve revisited this stretch of months before, so won’t delve too deep into the intricacies of my life. (If you’re interested in an in-depth flashback, click here.) My days in eighth grade had just wrapped, and – aside from an upcoming visit to an uncle’s farm – was looking forward to sleeping late, hanging with friends, enjoying matinee movies, and listening to lots of music – either selections from my growing LP/45 collection, Michael St. John’s weekend oldie show on WPEN-AM, or my favorite station, WIFI-92, which was a Top 40-oriented station that played pretty much anything that was a hit. Disco, rock, pop, country, R&B – so long as it was hot, it made the playlist. 

And, with that, here’s today’s Top 5: June 16th, 1979 (via Weekly Top 40): 

1) Donna Summer – “Hot Stuff.” Holding tight to the No. 1 slot for the second week in the row is this taut pop-rock track, which was the lead single from Donna’s Bad Girls album. Former Steely Dan and Doobie Brother guitarist – and future Defense Department consultant – Jeff “Skunk” Baxter handles the incendiary guitar break.

2) Sister Sledge – “We Are Family.” Nipping at the heels of “Hot Stuff” is the soon-to-be Pittsburgh Pirates anthem, which was and remains a catchy tune that only a Music Grinch could dislike. Here’s some trivia: It’s the first song written and produced by Nile Rogers and Bernard Edwards for a non-Chic act.

3) Anita Ward – “Ring My Bell.” Written by former Stax artist Frederick Knight (“I’ve Been Lonely for So Long”) for 11-year-old Stacy Lattisaw to sing, this tune wound up being reworked for Memphis-born Anita Ward, a former schoolteacher who held a degree in psychology. She initially rejected it, but Knight – whose label she was recording for – insisted; and, thus, a future No. 1 hit was born.

4) Randy VanWarmer – “Just When I Needed You Most.” The No. 4 song of the week is this sensitive, soft-rock classic, which was inspired not by a girl, but – a la Neil Young’s “Long May You Run” – a beloved car. In the years since, it’s been covered by a wide range of artists, including Tim McGraw, Skeeter Davis and Bob Dylan. 

5) Donna Summer – “Bad Girls.” Jumping into the Top 5 is this propulsive number, the second single from Summer’s double-LP of the same name.

And two bonuses…

6) Supertramp – “The Logical Song.” Odd, I just discussed this song with a coworker last week and here it is, at the pinnacle of its popularity. For whatever reason, it just takes me back to many a late-spring/early summer/late-summer day, when friends and I played in the middle of the never-busy street in front of someone’s house. On a less personal front, no less than Paul McCartney cited it as his favorite song of 1979…

7) Rickie Lee Jones – “Chuck E.’s in Love.” Yeah, I’ve featured this exact clip in another 1979 Top 5. Maybe two. It’s such a blast of effervescent fun, however, how could I not feature it again? (For the record, it clocks in at No. 7 this week.)

PledgeMusic, which began operations in 2009, has gone belly-up.

For those unaware, it was a crowdfunding website that connected indie music artists with fans who provided backing for specific projects. It was a win-win for everyone. The artists weren’t left footing the upfront costs for their projects (no mortgaging the house!) and, if they were smart, priced in a profit for themselves. Fans, for their part, scored new music plus, if they chose, nifty premiums – everything from autographed items to pay-to-order cover songs to house concerts to a chunk of an artist’s hair. They also gained access to an online diary that chronicled the project via posts and audio/video uploads.

The PledgeMusic model had artists receiving 85 percent of their raised funds through two payments over the life of a given project, with the company deducting its portion – 15 percent – from the second. There’s also this: The site’s terms and conditions says that “Monies collected by PledgeMusic for a Campaign will be held on account for the Artist.” That infers, at least to me, that the money raised by each artist was segregated from the company’s operating funds, and perhaps that was the case at first. Over time, however, it appears that Pledge dipped into the 85 percent supposedly earmarked for the artists, though why we don’t know. What we can say for certain: Payments to artists were delayed. And delayed again. And, finally, stopped altogether. 

PledgeMusic is now expected to enter bankruptcy, perhaps as soon as this week. The money sent in by fans to support specific artists will likely go to the company’s creditors, whoever they may be, and not the artists themselves. I’ll leave it to others to expound on and investigate the whys and wherefores of the company’s stumbles, and instead state the obvious: There’s no coming back from it.

And while Kickstarter, IndieGoGo and other crowdfunding sites remain, PledgeMusic’s absence will be felt – at least for me. I found it, by far, the most user-friendly. It’s always where I began my searches for new or established artists to support.  

The first PledgeMusic project I backed was in 2011, when I signed on for the Juliana Hatfield album that became There’s Always Another Girl. In the years since, in addition to signing on for Juliana’s additional Pledge projects (and the Blake Babies), I backed a variety of other artists, including (but not limited to) 10,000 Maniacs, Josh Rouse, Garland Jeffreys, Rickie Lee Jones and, most recently, Church of Birch pastor Diane Birch, whose plate-passing campaign came in 14 percent above her goal just as PledgeMusic began suspending payments to artists.

So, for today’s Top 5: RIP PledgeMusic (aka Songs from PledgeMusic Albums I Helped Fund).

1) Juliana Hatfield – “Taxicab.” This driving tune – which is made for listening to while speeding down the highway – hails from Juliana’s under-rated There’s Always Another Girl album, which began life as “Juliana Hatfield New Album” on PledgeMusic in 2011.  

2) Garland Jeffreys – “Is This the Real World?” Garland’s 2013 Truth Serum album was highlighted by quite a few songs, but this one is – hands down – my favorite. One listen and, trust me, you’ll be hooked.

3) Rickie Lee Jones – “Feet on the Ground.” That artists such as Juliana, Garland and Rickie Lee had to turn to PledgeMusic says all one need know about the state of the music industry circa the 2010s. This song is one of the highlights from her 2015 Other Side of Desire album.

4) The Stone Foundation – “Next Time Around.” The British soul/R&B band’s Everybody, Anyone album was one of my favorites from last year. Absolutely addictive. And this tune is a stone-cold classic.

5) Diane Birch – “Stand Under My Love.” Diane’s 2018 PledgeMusic project reached its goal, only to have the money swiped from her collection plate. So I’m reaching back to this insta-classic tune from her 2016 EP, Nous. In another era, it would have been a huge hit.

(If you like it, head over to Diane’s BandCamp page and buy the EP.) 

Thursday night found us at what sometimes seems like our home away from home, the World Cafe Live in West Philly, to see Rickie Lee Jones. If I’ve done my math right, it was the seventh time that I’ve seen the jazzy singer-songwriter, who’s long been a favorite. Though she had a cold, she delivered a solid set that was accented by spellbinding moments – especially on “We Belong Together.”

That’s not my video, I hasten to add. We were in the front row, where experience has taught me that the upward angle guarantees the overhead stage lights will appear like glowing orbs on my iPhone videos. But here’s a photo I took:

“We Belong Together” hails from her classic 1981 album Pirates, of course, and really should’ve been released as a single, as it’s one of her best songs.

Another highlight came earlier in the night with the second single released from her 1979 eponymous debut, “Chuck E.’s in Love,” which is the first thing I – and most folks, I’m sure – heard by her. According to Weekly Top 40, it made its chart debut – at No. 65 – on April 28th, the same week that Blondie’s “disco song,” “Heart of Glass,” topped the charts. Over the course of the next two months, it slowly weaved its way through the disco and pop dross cluttering Top 40 until, on June 9th, it hit entered the Top 10 at No. 8.

Four weeks later, on July 7th, it peaked at No. 4 (a spot it would hold for an additional week).

That July wasn’t much different from what I described in Today’s Top 5: June 1979 or Today’s Top 5: September 29, 1979 other than, for me, school being out. There was also this: I was 13 when the month began, and 14 when it ended. Beyond that, according to Wikipedia, the month’s notable events included, on the 2nd, the Susan B. Anthony dollar coin being introduced; on the 8th, L.A. passing a gay and lesbian rights bill; and, on the 16th, Steve Dahl’s “Disco Demolition” stunt at Chicago’s Comiskey Park going kaboom.

Among the albums released this month were Neil Young & Crazy Horse’s Rust Never Sleeps, the B-52’s debut and the Kinks’ Low Budget, but I wouldn’t discover them for quite some time. I was a kid on a budget, after all, and albums were often a luxury. And, too, there’s this: I was (likely) still grooving to a release from the month before: Wings’ Back to the Egg.

And, with that, here’s today’s Top 5: July 7th, 1979 (via Weekly Top 40):

1) Anita Ward – “Ring My Bell.” Some people hate this pure shot of disco fluff, which was enjoying its second week at No. 1, and it’s understandable why they might. But it has a certain charm…

2) Donna Summer – “Bad Girls.” As I noted after her untimely death, Donna Summer wasn’t just the “queen of disco” in the late ‘70s, but the queen of the Top 40. This week, she holds the No. 2 spot with the propulsive second single from the Bad Girls album; it was No. 3 the previous week, and would hit No. 1 the next. According to the Wikipedia entry, she was inspired to write the song after she was stopped one night by a police officer who mistook her for a prostitute. Who knew?

3) Donna Summer – “Hot Stuff.” And here’s additional proof of Summer’s chart dominance: “Hot Stuff,” the lead single from Bad Girls, dropped to No. 3 this week from No. 2, and before that had enjoyed a three-week run as No. 1. It would remain in the Top 10 for several more weeks, too. One of the interesting things about the song, to me at least, is the way it effortlessly blends rock and disco. (Check out the guitar solo at the end.)

4) Rickie Lee Jones – “Chuck E.’s in Love.” Rickie Lee’s biggest hit is also one of her greatest songs, a true effervescent shot of upbeat joy. This week, it reached No. 4 on the charts – a spot it would hold for one more week before falling out of the Top 10.

Here’s a cool video of her singing it on stage back in the day…

5) Kenny Rogers – “She Believes in Me.” Disco may have ruled the charts in the late ‘70s, but as evidenced by “Chuck E.’s in Love,” there was more to the era’s music than fast beats. And just as hip sounds could find their way in the charts. So could country – especially when sung by Mr. Rogers.

And a few bonuses…

6) Supertramp – “The Logical Song.” Mr. Spock’s theme song, from Supertramp’s smash Breakfast in America LP, peaks at No. 6 this week.

7) Wings – “Getting Closer.” Back to the Egg sported a cool cover, and some good-to-great tunes. Not Paul McCartney’s best, but far from his worse – New Wave in theory, at least in spots, but Old Wave in practice, through and through. This, the lead single, clocks in at No. 31, and would stall a few weeks later at No. 20.