By Ron Powers This month I’m excited to discuss one of my favorite slow songs. “Time After Time” was released in 1984, as part of Lauper’s debut album “She’s So Unusual,” which won her a Grammy Award for Best New Artist. The album was a massive success, with “Time After Time” becoming one of its most popular tracks, peaking at number one on the Billboard Hot 100 chart. With its heartfelt melodies and expansive dreamy music, Cyndi Lauper’s “Time After Time” continues to connect with millions. This timeless ballad stands as one of the most exquisite expressions of love and commitment ever recorded in pop music. The song begins with gentle synthesizer mixed with a subtle palm-muted guitar riff. Sparse percussive elements composed of kickdrum and shaker also punctuate the music. After eight measures of intro music, we hear Lauper’s soft and iconic vocal melody sing the words, “Lying in my bed, I hear the clock tick and think of you / Caught up in circles / Confusion is nothing new”. As the first verse progresses, more instrumentation is layered in, lifting the emotion of the song. This dynamic is repeated for the second verse which seamlessly flows into one of the best choruses pop music has ever produced. For the chorus we hear Lauper and backing vocalist, Rob Hyman, singing a combination of lyrics and melody that is in a class all its own. The sentiment conveyed is a triumph of pop ballad magic and stands as a timeless testament to the power of music itself. The instrumentation of the chorus also includes the introduction of bass guitar which gives new depth to the impact of the music. Additionally, guitar chords shimmering with a chorus effect ring out while snare rimshots add to the overall movement of the song….
By Ron Powers This month I’ll be discussing one of my favorite pop songs of all time. In the late 1980s, the British band Fine Young Cannibals burst onto the pop music scene with their smash hit single “She Drives Me Crazy.” With its monster drum sounds, catchy chorus, and genius percussive hooks, the song quickly climbed to the top of the charts in both the UK and the US. Not only did this song bring the band huge success but it cemented the band’s place in music history and help define the sound of a decade. As the opening beat of “She Drives Me Crazy” begins to play, it’s clear that this is a song that’s going to get you moving. The drums are processed with gated reverb creating that iconic 80s sound. After two bars of drums, we hear guitar chords processed with a telephone EQ filter along with plucked synth notes. These elements are placed in the arrangement with a minimalist elegance reminiscent of an abstract painting you might see in an art museum. As the first verse is introduced the music is perfectly complemented by lead singer Roland Gift’s high-pitched falsetto vocals and catchy top line. We hear the opening lyrics, “I can’t stop the way I feel / Things you do don’t seem real”. The vocals are supported by a punchy and clean bass sound along with drums and percussive synth. Halfway through the verse, gentle synth pad chords are added giving the music a lift in energy just before the band launches into one of the best pop choruses of all time. The chorus of “She Drives Me Crazy” is a true earworm that’s impossible to forget once you’ve heard it. It’s built around the repetition of the song’s title, with lead singer Roland…
By Ron Powers This month I’d like to focus on one of my all-time favorite songs by the legendary Ramones. “Sheena Is a Punk Rocker” was released in 1977 and quickly became a punk rock classic. It tells the story of a young girl who rebels against the status quo and embraces the punk lifestyle. The song is a prime example of the Ramones’ trademark sound, with its fast-paced, aggressive guitar riffs and upbeat drumming. Since their formation in New York City in the early 1970s, the Ramones have been a major force in the punk rock movement. They have inspired countless musicians and fans alike with their no-holds-barred approach to music, and “Sheena Is a Punk Rocker” is no exception. The Ramones kick things off with a fast and swaying guitar riff and a straightforward rock drumbeat. After a quick musical intro, we hear Joey Ramone sing the lines, “Well the kids are all hopped up and ready to go / They’re ready to go now / And they’re going to the Discotheque Au Go Go”. The music and vocals mix together to create a feeling reminiscent of The Beach Boys and the sound of a growling dog. “Sheena Is a Punk Rocker” is a prime example of how punk rock reignited the spirit of rock and roll. The Ramones presented the basic feeling and joy at the center of 50s and 60s rock music with an image and grit that resonated with a new generation. For the chorus, the band introduces a new and faster-paced chord progression that kicks up the energy of the song. On top of the music we hear the hook, “Sheena Is a punk rocker” repeated over and over by Joey. Under the top line, Dee Dee Ramone adds a vocal harmony that gives…
By Ron Powers This month I’d like to discuss the standout track from AC/DC’s seventeenth studio album Power Up. “Through The Mists Of Time” is an anthem that fills the listener with the sort of expansive rock power that only AC/DC is capable of. Angus and the gang blend the aggressive edge they’re famous for with a touch of tenderness making for a rowdy and inspirational listening experience. The lyrics for “Through The Mists Of Time” were written by lead guitarist Angus Young and are a tribute to the band’s early and wild days. Singer Brian Johnson said he got shivers while recording the song thinking of the band’s former guitarist and co-founder Malcolm Young who died at age 64 in 2017. AC/DC is a band that has experienced every bright and dark corner of the rock and roll lifestyle, and “Through The Mists Of Time” feels like it reflects that experience in a meaningful way. First, the band warms up the listener’s ears with lightly overdriven guitars that convey the cool yet uplifting feeling of the song. Under the guitars, we hear a single-note bass line filling out the bottom end and creating a subtle tension with the jazz-like drum rhythm. As the first verse is introduced, the airy feel of the intro quickly snaps into gear with a four-on-the-floor drumbeat. Singer Brian Johnson belts out the lines, “See dark shadows / On the walls / See the pictures / Some hang, some fall”. While Johnson delivers the top line, the band glides through the winding progression of the verse and seamlessly transitions into the chorus like a bird taking flight. A deeply satisfying and expansive feeling permeates the chorus. Just before the first downbeat, we hear the line “Through The Mists Of Time”, followed by classic AC/DC backing…
by Ron Powers For this month’s Flashback article, I hope to spark your interest in “Play With Fire” by The Rolling Stones. “Play With Fire” offers a uniquely dark feeling that is both beautiful and eerie. The lyrics focus on the singer’s relationship with a high-society girl who is leading an oblivious and self-centered lifestyle. It was recorded late at night in Los Angeles at the RCA Studios with Phil Spector. The song was originally released in 1965 as the B-side to the song “The Last Time”, and later included on the American release of their 1965 album Out of Our Heads. “Play With Fire” begins with Keith Richards performing finger-picked acoustic guitar. The music is enchantingly smooth and pulls the ear in with an intriguing and uncommon feeling. After a few bars, the guitar is accompanied by Jagger’s mellow and spooky vocal melody. We hear the lyrics, “Well you’ve got your diamonds / And you’ve got your pretty clothes / And the chauffeur drives your car / You let everybody know”. The minimal instrumentation of this song allows for the detail and micro-emotion of each element to shine through clearly. I particularly enjoy the vocals and the sound of the echo chamber effect used on them. As the first chorus is introduced, a lovely harpsichord melody is added to the instrumentation. This deepens the feeling established in the verse and adds a touch of sarcasm to the music given the harpsichord’s association with the upper-crust types the lyrics critique. The simple words, “But don’t play with me / Cause you’re playing with fire” are performed with a top-line melody that conveys a quiet fortitude that is somehow inspiring and chilling all at once. Tambourine strikes which resound with open-room reverb also adds a touch of rhythm to the music…
By Ron Powers Now that the holiday season is in full swing, I thought I’d write a little about one of my favorite albums played this time of year. A Christmas Gift for You from Phil Spector was released in 1963 and peaked at No. 13 on Billboard magazine’s special, year-end, weekly Christmas Albums sales chart. The album features 13 tracks, 9 of which have become classics played on heavy rotation each year on holiday radio and in just about every shopping center. Composed of songs performed by artists like The Ronettes, The Crystals, and Darlene Love, A Christmas Gift for You from Phil Spector is easily one of the best holiday albums ever created. Year after year it continues to stand the test of time and is enjoyed by millions of people young and old. I’ll be discussing a few of my favorite songs from the album here. The eleventh track on Christmas Gift for You from Phil Spector is called “Christmas (Baby Please Come Home)” and it’s my favorite off the album. I love this song’s anticipatory intro music with its violin trills, rich bells chiming, horns blazing, and bass guitar notes dancing around. The intro rises in energy until Darlene Love and her backup singers burst into an expansive verse singing the lines, “(Christmas) The snow’s coming down / (Christmas) I’m watching it fall / (Christmas) Lots of people around / (Christmas) Baby please come home”. There is such a depth of feeling in Darlene Love’s vocal performance and that feeling blends with the music to create a song that isn’t merely a nice holiday tune. “Christmas (Baby Please Come Home)” stands among some of the greatest music created in the 1960s. For “Sleigh Ride”, the fifth track on the album, The Ronettes and Phil Spector begin…
By Ron Powers In the spirit of Thanksgiving, I’d like to start this month’s article by saying I’m very thankful for my family. This year has had its share of ups and downs but my family has been there through it all. I’m also thankful for musicians and the music they make. Speaking of music, this month’s Flashback article features a song that pop culture missed out on. Akron, Ohio new wave band Devo released “Fresh” in April of 2010 as the lead single for their ninth studio album, Something For Everybody. “Fresh” is easily on par with the band’s more widely recognized music. In fact, it’s arguably superior to much of the band’s earlier work. “Fresh” has a tight locked-in feel complete with balanced guitars, snappy drums, and plucked synth bass. The production has a blend of zipping fuzz, smoothness, and polish. The first three measures of “Fresh” feature the band striking their instruments in unison. The notes convey an ominous and powerful feeling culminating with the sound of a thunderstorm as the third note rings out. The crash symbols mix well with the sound of the rain and thunder as a gentle synth riser leads into the head-bobbing intro music. Every instrument contributes to the appeal of this song, from the bouncing bass line and charging drums to the cool and catchy guitar lead line. For the first verse, the instrumentation is reduced to mostly drums and bass with sparse lead guitar. We hear the lyrics, “Something in the air / Is telling me to go there / So I’ll follow my nose / Go wherever it goes”. Singer Mark Mothersbaugh adds plenty of space between each line of the verse creating a dip in energy and contrast for the coming pre-chorus. The words are delivered with an…
By Ron Powers Alchemy of Earth begins with Pauline Frechette’s “Spring Awakening”. I was taken away by this song’s delicate progressions. It unfolds like the blooming of a flower and expresses a deep and meaningful feeling. This song is a good example of music communicating something words cannot. The light and airy feeling of “Spring Awakening” seamlessly melts into the album’s second song (“Summer Skies”). As you might expect from the title, this song has more warmth to it. As I was listening an image of sunset came to mind. It expresses all the beauty of a sky full of expansive clouds painted with glowing pink, orange, and purple light as a summer’s day comes to an end. For the album’s third track Frechette continues with her seasonal theme, delivering “Liquid Moon”. This song is one of my favorites by Frechette. It makes you feel like you’re stepping out into nature when you listen to it. “Liquid Moon” also appears on an EP by Pauline called A Winter’s Tale. For Frechette’s fourth and final installment of seasonal gems, we’re treated to the exquisite and vigorous “Ice Storm”. This song has a dark and enchanting power pulsating through it. From its mysterious and meandering melody lines to its thundering brass section. “Ice Storm” is a piece of music that keeps your attention from beginning to end. Legendary composer David Campbell keeps things moving with the album’s fifth track, “19th Century Entanglements”. The bustling energy of this song pulls you in and gets your blood pumping without warning. I was particularly struck by the depth of prowess that this song exudes. Every note rings with the weight and authority of a man who has mastered his craft. Campbell continues his entangled journey with the beautifully eerie “20th Century Entanglements”. The emotion of…
By Ron Powers For this month’s Flashback article I’d like to shine a light on an unrecognized gem by the inventor of rock and roll himself. In 1979 Chuck Berry released “Move It”, the first track off his nineteenth studio album (Rockit). In spite of no chart success, and little critical recognition, “Move It” has all the appeal of hits like “Maybellene” and “Johnny B. Good”. The song has a ruthlessly catchy melody and a backbeat that gets your head bobbing straight away. Yes, “Move It” holds up with the best of them and remains one of my favorites by the legendary rock and roll pioneer. The song begins with one of Berry’s signature guitar licks and then blasts off into the verse with a full band arrangement. We hear a scat rhythm from the guitar while the bass bops along with the drums and the piano sprinkles boogie woogie magic all over the mix. The lyrics of the first verse describe a fifty-five Ford broken down on the side of a highway with traffic piled up and a police officer upset about it. Like many of Berry’s songs, the lyrics used employ classic rock and roll imagery that combines with the music to create a flavor as classic as McDonald’s hamburgers. Rather than a fixed melody and lyrics for the chorus, Chuck relies on the groove to hold the listener’s attention. This is probably why we hardly notice that the chorus does not obey the songwriting convention of repeating melody patterns. Instead, Chuck delivers a different melody variation during each of the three chorus sections of “Move It”. Although the words “move it” are repeated, the melody and lead guitar parts change each time. You would expect this to cause attention to wane, but for this particular song, it’s…
by Ron Powers This month I’m bringing you the first of a series of articles I’m doing called “Flashback”. In this series, I’ll discuss some of the lesser-known work by the biggest names in music. First on the list is a song called “Lonely Road” by Paul McCartney. “Lonely Road” is the first track off McCartney’s 2001 album “Driving Rain”. It mixes mid-tempo rock-n-roll with a spooky vocal melody to create a sophisticated and cool feeling that is both energetic and relaxed. “Lonely Road” didn’t get much recognition upon its release, but it remains one of my favorite songs by the legendary Beatle and I’m happy to have a chance to share it with you here. The song begins with a round stumbling bass line followed by a mix of drawn-out electric guitar notes and chords played through a high-quality tube amp. We also hear faint acoustic guitar chords mixing with tambourine and kick drum to create an intriguing rhythm that supports the topline nicely. With a cool and laidback melody, McCartney delivers the simple but relatable lines “I tried to get over you / I tried to find something new / but all I could ever do / was fill / my time / with thoughts / of you”. As the verse progresses organ chords are added along with a snare drum and other percussive elements. At the tail end of the verse, Paul delivers “Chuck Berry style” octave bends that create a classically cool feeling leading into the chorus. McCartney’s guitar work is particularly remarkable during the chorus of “Lonely Road”. The rhythm is interesting and unpredictable: One second we hear swooping notes that ring out for a full measure and the next thing you know Paul is attacking the strings with vigorous strumming. A second guitar is…
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