I'm a little embarrassed to admit this.
As I write this, it's Saturday morning and I'm sitting in the waiting room while my car gets an oil change.
And I am crying.
I was gathering some videos for the mvy Bloggers Page. Our Album Of The Week is the new Mavis Staples record, and I figured I'd post her cover of the Nick Lowe tune "Far Celestial Shore," when I came across this video.
Yeah, it's basically an advertisement put together by her label. It's marketing and it's manipulative.
But I can't deny that it just filled me with emotion. Not sad. Just . . . emotion.
I dunno, maybe it won't have that effect on you.
But when I see hear, when I hear her, I just can't help but be overwhelmed by how lucky I feel to have these recent records, both the ones she's done with Jeff Tweedy, which has been a lovely, lovely surprise, and also the excellent records she put out in the 2000s ("Have A Little Faith," "We'll Never Turn Back").
I feel lucky to have seen her live. To see her sing "The Weight" right in front of me. To watch her pound her chest as she sang the line "Put the load right on me" and totally believe she could psychologically, spiritually and hell, even physically carry us.
I feel lucky that music still moves me this deeply, and that Mavis is out there making it.
See the Marketing video on Youtube.
Hear "Far Celestial Shore" on Youtube.
Showing posts with label mavis staples. Show all posts
Showing posts with label mavis staples. Show all posts
Tuesday, September 17, 2013
Thursday, August 29, 2013
Livingston Taylor "Grandma's Hands"
I'd kinda forgotten that I even knew this song, but as soon as I heard the new Willie Nelson single, "Grandma's Hands" I was immediately whisked back to seeing Livingston Taylor.
Barbara Dacey had put together a concert at Nectars (formerly The Hot Tin Roof) to celebrate her 25 years at MVY, and Livingston was on the bill.
Jess Phaneuf and I were standing near the entrance helping greet late-comers as Livingston's set was underway, when the power went out. For a moment, I thought it might just be a brown-out, but no, the power went out and stayed out.
This might be the kind of thing that would fluster or flummox another artist and derail a whole night of music.
But I turned to Jess and said, "If there's anyone you would want stage when the power goes out, it's Livingston."
The consummate and unflappable performer, he took just a moment to assess the situation. Then he put down his guitar, stepped in front of the microphones to the edge of the stage, and began singing and clapping.
In a moment where you could have lost the audience, lost the flow, lost the night, Livingston grabbed the room with his own two palms and led the crowd through "Grandma's Hands."
Within a few minutes, the power blipped back on, but the night, thanks to Livingston, felt nary a flicker.
Hear Livingston Taylor's version on Youtube.
Hear Willie Nelson's version on Youtube.
Barbara Dacey had put together a concert at Nectars (formerly The Hot Tin Roof) to celebrate her 25 years at MVY, and Livingston was on the bill.
Jess Phaneuf and I were standing near the entrance helping greet late-comers as Livingston's set was underway, when the power went out. For a moment, I thought it might just be a brown-out, but no, the power went out and stayed out.
This might be the kind of thing that would fluster or flummox another artist and derail a whole night of music.
But I turned to Jess and said, "If there's anyone you would want stage when the power goes out, it's Livingston."
The consummate and unflappable performer, he took just a moment to assess the situation. Then he put down his guitar, stepped in front of the microphones to the edge of the stage, and began singing and clapping.
In a moment where you could have lost the audience, lost the flow, lost the night, Livingston grabbed the room with his own two palms and led the crowd through "Grandma's Hands."
Within a few minutes, the power blipped back on, but the night, thanks to Livingston, felt nary a flicker.
Hear Livingston Taylor's version on Youtube.
Hear Willie Nelson's version on Youtube.
Thursday, May 23, 2013
Mavis Staples "Can You Get To That"
I don't know if we've ever had this happen before.
Rewind the clocks back to winter.
As mentioned a number of times before, there are very, very few new songs released from November through the middle of January. The record industry slows down before Christmas, then shuts down for the holidays. New albums don't start appearing until the year is well underway.
But in this period, we will want to be adding new songs to rotation, and it becomes a great opportunity to go back to songs we've missed, or add some personal favorites that we might not otherwise have room for.
The Living Sisters' cover of Funkadelic's "Can You Get To That" was one of those songs that was in my iTunes rotation, and I never wanted to clear it out. Despite the fact that the song never gained any traction or appeared on any charts or garnered much notice, I kept it among the songs to be considered for rotation on MVY.
And one day this winter I pulled the trigger.
We got a nice response from folks who knew the original and liked the quartet's take on it. And we got interest from people who weren't familiar with the original, but simply enjoyed the gentle groove.
It's been on the playlist for a couple of months now, and was nearing the end of its run.
Then a funny thing happened. Mavis Staples released a cover of the same tune.
Staples much anticipated follow up to the "You Are Not Alone" album isn't due out until later this summer, but because she is again working with Wilco's Jeff Tweedy, interest is high.
And what an inspired choice for a first single!
"Can You Get To That" is a great 70s groove. A song you rarely hear today. A nice nugget from the past. And Mavis' version is such an inspired, refreshing choice of songs to cover.
Or, it would seem so, if you haven't been listening to MVY.
For MVY listeners, I wonder if people will hear the new Mavis version, and ask "Why are they playing a different version of the same song?"
It would have been a weird choice for the record company to release this cover, IF The Living Sisters' version had been a hit. But, as far as I know, mvyradio is the only station in the country playing that version in regular rotation. So this cover will be a nice surprise/recall to the 70s version, for many non-MVY listeners. But kind of a weird choice for us.
We're going to retire The Living Sister's version, and start playing the Mavis version. And her album "One True Vine" will be out later in the summer, and we'll likely be one of the first stations to get off the first single and go on to a second.
Hear the Mavis version on Youtube.
Hear The Living Sisters version on Youtube.
Hear the Funkadelic version on Youtube.
Rewind the clocks back to winter.
As mentioned a number of times before, there are very, very few new songs released from November through the middle of January. The record industry slows down before Christmas, then shuts down for the holidays. New albums don't start appearing until the year is well underway.
But in this period, we will want to be adding new songs to rotation, and it becomes a great opportunity to go back to songs we've missed, or add some personal favorites that we might not otherwise have room for.
The Living Sisters' cover of Funkadelic's "Can You Get To That" was one of those songs that was in my iTunes rotation, and I never wanted to clear it out. Despite the fact that the song never gained any traction or appeared on any charts or garnered much notice, I kept it among the songs to be considered for rotation on MVY.
And one day this winter I pulled the trigger.
We got a nice response from folks who knew the original and liked the quartet's take on it. And we got interest from people who weren't familiar with the original, but simply enjoyed the gentle groove.
It's been on the playlist for a couple of months now, and was nearing the end of its run.
Then a funny thing happened. Mavis Staples released a cover of the same tune.
Staples much anticipated follow up to the "You Are Not Alone" album isn't due out until later this summer, but because she is again working with Wilco's Jeff Tweedy, interest is high.
And what an inspired choice for a first single!
"Can You Get To That" is a great 70s groove. A song you rarely hear today. A nice nugget from the past. And Mavis' version is such an inspired, refreshing choice of songs to cover.
Or, it would seem so, if you haven't been listening to MVY.
For MVY listeners, I wonder if people will hear the new Mavis version, and ask "Why are they playing a different version of the same song?"
It would have been a weird choice for the record company to release this cover, IF The Living Sisters' version had been a hit. But, as far as I know, mvyradio is the only station in the country playing that version in regular rotation. So this cover will be a nice surprise/recall to the 70s version, for many non-MVY listeners. But kind of a weird choice for us.
We're going to retire The Living Sister's version, and start playing the Mavis version. And her album "One True Vine" will be out later in the summer, and we'll likely be one of the first stations to get off the first single and go on to a second.
Hear the Mavis version on Youtube.
Hear The Living Sisters version on Youtube.
Hear the Funkadelic version on Youtube.
Wednesday, January 16, 2013
Bonnie Raitt "Silver Lining"
As part of the Save mvyradio campaign, we've been reaching out to artists, asking them to do things like post about Save mvyradio on their Facebook page (Jackson Browne did), talk to the media about us (Lyle Lovett and Carly Simon did) and record some station IDs for us.
This last one is pretty standard, and no doubt, no matter what station you listen to, you've heard these kinds of things. "Hi, this is So-And-So, and you're listening to Station XYZ!"
Surprisingly, I've learned a few things from this process.
I learned the proper way to pronounce the last names of JD McPherson and Madeleine Peyroux, because I heard it from their own lips. (McPherson says it as "Mick-FURR-son" not Mick-FEAR-son"; and Peyroux says her name just like the country Peru).
I learned that Jason Spooner likes Cape Cod Potato Chips. (Do I smell an endorsement for Mr. Spooner?)
I've learned the Mavis Staples may be one of the best voiceover artists I've ever heard. I want to hire her to record ALL announcements for mvyradio. Or read me bedtime stories.
And I learned, much to my shock and delight, that Bonnie Raitt listens to the station!
Barbara got to interview Bonnie by phone, and, unsolicited, while answering a question about how she finds songs to cover, Raitt says that independent radio, including MVY, plays a big role in helping her select songs. She even called us one of her favorite radio stations, and says she streams it at home on the West Coast, and while on the road.
!!!!!!
To hear Bonnie and other artists talk about mvyradio and why people should support it, hit play on the Youtube video on our main page today. And for the full Bonnie Raitt interview, catch it when we air it at noon today, or find it in the archives after that.
Hear the song on Youtube.
This last one is pretty standard, and no doubt, no matter what station you listen to, you've heard these kinds of things. "Hi, this is So-And-So, and you're listening to Station XYZ!"
Surprisingly, I've learned a few things from this process.
I learned the proper way to pronounce the last names of JD McPherson and Madeleine Peyroux, because I heard it from their own lips. (McPherson says it as "Mick-FURR-son" not Mick-FEAR-son"; and Peyroux says her name just like the country Peru).
I learned that Jason Spooner likes Cape Cod Potato Chips. (Do I smell an endorsement for Mr. Spooner?)
I've learned the Mavis Staples may be one of the best voiceover artists I've ever heard. I want to hire her to record ALL announcements for mvyradio. Or read me bedtime stories.
And I learned, much to my shock and delight, that Bonnie Raitt listens to the station!
Barbara got to interview Bonnie by phone, and, unsolicited, while answering a question about how she finds songs to cover, Raitt says that independent radio, including MVY, plays a big role in helping her select songs. She even called us one of her favorite radio stations, and says she streams it at home on the West Coast, and while on the road.
!!!!!!
To hear Bonnie and other artists talk about mvyradio and why people should support it, hit play on the Youtube video on our main page today. And for the full Bonnie Raitt interview, catch it when we air it at noon today, or find it in the archives after that.
Hear the song on Youtube.
Tuesday, September 27, 2011
Lindsay Buckingham "In Our Own Time"
If I tell you that, when judging a song's merit, I listen to the whole song, you probably would simply say, "Yeah. Duh!"
But you know, that's not always the case.
Anyone who "judges" music for a living (radio station program directors, club owners who book bands, record label promotion people) can tell you that in most cases, they can listen to a song for 30 second, maybe a minute, and hear everything they need to hear.
It's true. By the time a minute rolls around, you've heard the verse and you've gotten to the song's hook, and either it's strong or it's not.
I mean, next week, we'll probably add two songs to rotation at mvyradio. But I have 86 songs on my iTunes playlist vying for those spots. If, in 60 seconds, a song can't establish itself in the mind of someone who cares deeply about putting the right song on the air, then the casual listener isn't going to hesitate to hit the next preset on the car radio.
But . . .
Once a song has passed the 60 second test, you still have to give it a full listen through, and today's song illustrates just why.
I think Lindsay Buckingham in a F-N genius. Genius writer, genius guitar player and a genius in the art of studio craft. And if it's possible to call one of the main creative forces behind one of the best loved, best selling albums of all time, "under-rated," well yes, I think his playing is wildly under-rated.
This song holds the line of previous Buckingham solo efforts of being precise, and a bit quirky, with a surprisingly catchy vocal hook and guitar figure.
And I think any serious guitar player would listen to this song and just think to themselves, "Fuck! That guitar part is so intricate/incredible/amazing!"
But, in the case of a genius, you can be too smart for the room.
Late in the song, Buckingham's guitar playing takes off, and the guitar figure gets faster, more intricate. The notes ping-pong back and forth between speakers. He keeps playing slight variations on the same theme, over and over again.
A trained ear, focused on the technical prowess of the playing, might be wowed by it.
But to a casual ear, it kind of feels like the repetitious noodling that a casual listener wouldn't have the patience for. It plays more like an irritant.
I guess it's another "context" question. The song is amazing as part of a Buckingham album. The end-of-song playing works really well in the live context, where it fires up the audience, and the response fires up Buckingham (as seen in the live video below). But as a song sandwiched between, say "Hungry Heart" by Springsteen and Mavis Staples "Wrote A Song For Everyone" I don't think it will work.
What do you think?
See the live performance on Youtube.
But you know, that's not always the case.
Anyone who "judges" music for a living (radio station program directors, club owners who book bands, record label promotion people) can tell you that in most cases, they can listen to a song for 30 second, maybe a minute, and hear everything they need to hear.
It's true. By the time a minute rolls around, you've heard the verse and you've gotten to the song's hook, and either it's strong or it's not.
I mean, next week, we'll probably add two songs to rotation at mvyradio. But I have 86 songs on my iTunes playlist vying for those spots. If, in 60 seconds, a song can't establish itself in the mind of someone who cares deeply about putting the right song on the air, then the casual listener isn't going to hesitate to hit the next preset on the car radio.
But . . .
Once a song has passed the 60 second test, you still have to give it a full listen through, and today's song illustrates just why.
I think Lindsay Buckingham in a F-N genius. Genius writer, genius guitar player and a genius in the art of studio craft. And if it's possible to call one of the main creative forces behind one of the best loved, best selling albums of all time, "under-rated," well yes, I think his playing is wildly under-rated.
This song holds the line of previous Buckingham solo efforts of being precise, and a bit quirky, with a surprisingly catchy vocal hook and guitar figure.
And I think any serious guitar player would listen to this song and just think to themselves, "Fuck! That guitar part is so intricate/incredible/amazing!"
But, in the case of a genius, you can be too smart for the room.
Late in the song, Buckingham's guitar playing takes off, and the guitar figure gets faster, more intricate. The notes ping-pong back and forth between speakers. He keeps playing slight variations on the same theme, over and over again.
A trained ear, focused on the technical prowess of the playing, might be wowed by it.
But to a casual ear, it kind of feels like the repetitious noodling that a casual listener wouldn't have the patience for. It plays more like an irritant.
I guess it's another "context" question. The song is amazing as part of a Buckingham album. The end-of-song playing works really well in the live context, where it fires up the audience, and the response fires up Buckingham (as seen in the live video below). But as a song sandwiched between, say "Hungry Heart" by Springsteen and Mavis Staples "Wrote A Song For Everyone" I don't think it will work.
What do you think?
See the live performance on Youtube.
Monday, October 18, 2010
Mavis Staples "You Are Not Alone"
I got to indulge myself a bit, during my vacation a few weeks back.
One of the biggest adjustments in my shift from long-time single guy, to father (of two) and husband (of one), has been the recalibration of my entertainment options.
When you blast the stereo at home these days, it really needs to be a consensus artist.
And, between the 4 of us, there are many. We all enjoy listening to The Beatles and the Glee Soundtracks and Michael Franti and Dan Zanes and many others.
Unfortunately, there are many, many artists and albums that I like that aren’t consensus. So many of my punk rock albums and hip hop records and LOUD ROCKING discs don’t get much play on the home stereo.
But for the first few days of vacation, I didn’t have to worry too much about consensus.
My wife had left for Chicago, for the wedding of a friend. And we sent my 3 year old daughter to Gramma’s house, for a few days in that wonderland.
That left me home alone with the boy. And let’s face it, at 6 months old, he wasn’t really going to argue with any of my entertainment choices.
Sunday morning, I put him in his Elmo car---a roll-y walker vehicle---and as I cleaned up the house a bit, I put on “The Last Waltz” DVD and cranked up the sound.
I was in and out of the room, singing along throughout, but when it came to the scene with The Staples Singers, I just stopped, unable to tear myself away.
How many times have I heard “The Weight” in my lifetime? Hundreds?
How surprised was I, to find myself getting goosebumps, as soon as Mavis Staples started her verse?
After all these years, she still has amazing powers.
Vacation week turned out to be a mini-Mavis fest.
Because I didn’t have to get up early, I was able to stay up and watch the late night talk shows. So I caught Mavis and Jeff Tweedy doing “Wrote A Song For Everyone” on David Letterman. And the very next night she was on The Colbert Report, once again moving me, this time with a Tweedy-penned track called “You Are Not Alone."
Good things come in 3s. And it was enough critical mass to make me run to the stacks when I got back to work, and make sure I had a copy of Mavis’ new record, also called “You Are Not Alone.”
Today on mvyradio, we’re giving away copies of her disc, as The Monday Free CD. Tune in to win.
Check out the interview with Colbert that preceded the performance. I love her answer to Colbert's question, "Do you sing The Devil's Music?"
One of the biggest adjustments in my shift from long-time single guy, to father (of two) and husband (of one), has been the recalibration of my entertainment options.
When you blast the stereo at home these days, it really needs to be a consensus artist.
And, between the 4 of us, there are many. We all enjoy listening to The Beatles and the Glee Soundtracks and Michael Franti and Dan Zanes and many others.
Unfortunately, there are many, many artists and albums that I like that aren’t consensus. So many of my punk rock albums and hip hop records and LOUD ROCKING discs don’t get much play on the home stereo.
But for the first few days of vacation, I didn’t have to worry too much about consensus.
My wife had left for Chicago, for the wedding of a friend. And we sent my 3 year old daughter to Gramma’s house, for a few days in that wonderland.
That left me home alone with the boy. And let’s face it, at 6 months old, he wasn’t really going to argue with any of my entertainment choices.
Sunday morning, I put him in his Elmo car---a roll-y walker vehicle---and as I cleaned up the house a bit, I put on “The Last Waltz” DVD and cranked up the sound.
I was in and out of the room, singing along throughout, but when it came to the scene with The Staples Singers, I just stopped, unable to tear myself away.
How many times have I heard “The Weight” in my lifetime? Hundreds?
How surprised was I, to find myself getting goosebumps, as soon as Mavis Staples started her verse?
After all these years, she still has amazing powers.
Vacation week turned out to be a mini-Mavis fest.
Because I didn’t have to get up early, I was able to stay up and watch the late night talk shows. So I caught Mavis and Jeff Tweedy doing “Wrote A Song For Everyone” on David Letterman. And the very next night she was on The Colbert Report, once again moving me, this time with a Tweedy-penned track called “You Are Not Alone."
Good things come in 3s. And it was enough critical mass to make me run to the stacks when I got back to work, and make sure I had a copy of Mavis’ new record, also called “You Are Not Alone.”
Today on mvyradio, we’re giving away copies of her disc, as The Monday Free CD. Tune in to win.
| The Colbert Report | Mon - Thurs 11:30pm / 10:30c | |||
| Mavis Staples & Jeff Tweedy - You Are Not Alone | ||||
| www.colbertnation.com | ||||
| ||||
Check out the interview with Colbert that preceded the performance. I love her answer to Colbert's question, "Do you sing The Devil's Music?"
| The Colbert Report | Mon - Thurs 11:30pm / 10:30c | |||
| Mavis Staples & Jeff Tweedy | ||||
| www.colbertnation.com | ||||
| ||||
Saturday, September 11, 2010
Mavis Staples “Wrote A Song For Everyone”
The Life Is Good Festival happens in Canton, MA this weekend. So this week's blog posts feature artists appearing on the bill.
It’s a testament to John Fogerty’s songwriting that this 40 year old tune sounds as relevant in 2010 as it did when he wrote it.
And it’s a testament to Mavis Staples gravitas that she can sing Fogerty’s tune, and leave no trace of the fact that this was written by a young white-bread Californian, and that it wasn’t just one of those tunes she and Pops performed during those marches with Dr. King.
Mavis Staples performs today at the Life Is Good Festival.
It’s a testament to John Fogerty’s songwriting that this 40 year old tune sounds as relevant in 2010 as it did when he wrote it.
And it’s a testament to Mavis Staples gravitas that she can sing Fogerty’s tune, and leave no trace of the fact that this was written by a young white-bread Californian, and that it wasn’t just one of those tunes she and Pops performed during those marches with Dr. King.
Mavis Staples performs today at the Life Is Good Festival.
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