By Ron Powers Brothers Noel and Liam Gallagher helped define the music of the 1990s with their rock-n-roll band Oasis. By the mid-90s these legendary Brits had released two hit albums and were probably the biggest band in the world. After producing mega hits like “Wonderwall” and “Don’t Look Back In Anger”, expectations for what would come next from Oasis were high to say the least. It was in this environment that, on July 7th 1997, they released “D’You Know What I Mean?”, the first single off the bands third studio album, Be Here Now. Upon its release, the song reached number one on the UK, Finland, Ireland, and Spain singles charts. Additionally, in October 2016, NME placed it at number 77 on its list of “150 Best Tracks of the Past 15 Years”. “D’You Know What I Mean” begins with a sonic picture that communicates the giant rock-n-roll attitude that Oasis is famous for. First, we hear the sounds of helicopters and airplanes mixed with low volume guitar noise along with the sound of morse code. Next, Noel adds pick scrapes which are run through a wah wah pedal giving a touch of rhythm to the ominous, almost warzone feeling rolling out of the speakers. A cracking drum fill erupts after this and crashes out introducing a new flavor of effect-soaked guitar notes. Additionally bass guitar is added deepening the power and depth of the music. The intro music starts to come into focus when acoustic guitar is layered in delivering the song’s chord structure. Atop the music we hear more drum fills along with singer Liam Gallagher gearing up to deliver the verse with a guttural sound that anybody who has felt the weight of life can understand. After more than a minute of intro music, the first…
By Ron Powers Embracing the heart of summer, let’s dive into a discussion about a timeless song that always sets the perfect mood during this season. Bryan Adams’ “Summer Of ’69” encapsulates the essence of youth and the carefree joy that comes with summer. It remains a delightful experience to roll down the car windows and crank up this 1980s pop rock classic while heading to the beach, firing up the barbecue, or embarking on a camping trip. Adams’ raspy voice, weaving tales of starting his first rock band and discovering love amidst the summer haze, never fails to evoke a feeling that resonates with us all. Year after year, the infectious sound and uplifting melody of this song continue to brighten the lives of millions across the globe. The song kicks off with a resounding snare drum, reverberating as if it were recorded in a vast warehouse. It is soon accompanied by palm-muted guitar chords and bursts of open chords on the offbeats. Adams’ nostalgic vocals soar above the guitar, as he declares, “I got my first real six-string / Bought it at the five and dime / Played it ’til my fingers bled / Was the summer of ’69.” The drums intensify, and the mix begins to shimmer with guitar rakes soaked in chorus effects, enveloping the listeners in a pop rock embrace. The chorus arrives with a fresh chord progression, giving those pop rock-n-roll guitars something new to talk about. As Adams continues reminiscing about the summer of ’69, the musical arrangement remains straightforward. This simplicity allows the raspy gold of Adams’ melody and lyrics to take center stage in the listener’s ears. The chorus culminates with a melodic and lyrical flourish, with Adams proclaiming, “Those were the best days of my life.” As the song progresses,…
By Ron Powers In honor of Independence Day, I’d like to discuss a song with some US flavor. “American Girl” by Tom Petty and the Heartbreakers Is one of the best rock-n-roll songs this land of liberty has ever produced. Year after year this song has managed to exude a freshness that seems impervious to time. From its jangling guitars and snappy beat to its melodic and catchy top line, “American Girl” fills the listener with a feeling unlike any other. So, if you’re in the mood for some timeless classic American rock this 4th of July, this number by the Heartbreakers is a perfect fit for your playlist. “American Girl” begins with the sound of vintage guitars played through slightly overdriven amplifiers. In the background, subtle Hi-hat pedal pumps are layered in just before the beat drops and the infectious hooks of this song start sinking in. As the intro music progresses, we hear a nostalgic bass guitar melody played on the high frets further expanding the musical palette. Finally, the iconic sound of the Heartbreaker’s backing vocals swoops in and out just before Tom Petty delivers the first verse. For the verse we hear picked chords from the rhythm guitar mixed with single strummed triplets and double stops from the lead guitar. Meanwhile, the drums and bass work together to create a snappy rhythm that bops and swings giving the song its upbeat backbone. On top of the music, we hear Tom Petty’s distinct voice deliver the lines, “Well, she was an American girl / Raised on promises / She couldn’t help thinkin’ that there / Was a little more to life Somewhere else”. As the verse progresses, the band gradually increases the energy with more intense guitars, rhythmic elements, and backing vocals. These elements mix together to…
By Ron Powers Lately I’ve been listening to a lot of songs from the 1990s and I’m excited to share one of my favorites with you here. Michael Bolton’s 1993 hit, “Said I Loved You…But I Lied”, is among the best pop ballads produced in the 20th century. It’s been setting hearts on fire for the last three decades and remains popular to this day. For my money, it doesn’t get any better than the flinty and soulful power of Bolton’s voice letting loose on this song. For the intro music we hear mysterious sounding synthesizers punctuated by reverberating tom toms. This is followed by a sparkling melody performed with a bell-like synth sound. After a couple of measures, a deep and smooth bass line provides power and richness to the mix. Percussive elements are also sprinkled around the stereo field giving the listener an interesting spatial experience of the music. On top of all this, Bolten accentuates the feeling with a spooky wordless falsetto melody that pulls the listener in like a tractor beam. As the first verse is introduced, we hear mellow synth chords while bass and percussion establish the song’s rhythmic backbone. Swelling keyboard sounds also swirl around the mix adding to the mysterious tone of the music. For the topline, Bolton delivers a tender yet powerful performance expressing his love with timeless and poetic lyrics that have been melting hearts for decades. As the verse progresses, shimmering guitar chords along with palm muted notes are sprinkled in giving the track its iconic 90s ballad sound. For the chorus, Bolton delivers one of the most exquisite feelings I’ve ever felt while listening to a song. There’s something transcendent in the combination of the melody, lyrics, and vocal performance that words simply can’t express. The timeless gift of…
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…
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