Buddy Miller and Jim Lauderdale, who at the end of 2012 released their first joint album appropriately called Buddy and Jim (2012), recently stopped by the offices of National Public Radio. The result, which is part of NPR’s Tiny Desk Concert series, was some great music and a lot of fun. Check it out.
The songs in the video are: “The Train That Carried My Gal From Town,” “It Hurts Me,” and “I Lost My Job Of Loving You.” As someone who likes Lauderdale and already has every Buddy Miller album, I may have to get around to getting this collaboration just for the excellent harmonies.
What is your favorite album by Buddy Miller or Jim Lauderdale? Leave your two cents in the comments.
Canadian Astronaut Chris Hadfield yesterday uploaded a video made in space, which is, appropriately, a performance of David Bowie’s song about Major Tom, “Space Oddity.” This far-out video features cool shots of the view and of Hadfield in the International Space Station, where he has been since December. He will return to earth this week.
Check out his video for “Space Oddity.” [July 14, 2014 Update: Earlier this year Hadfield announced that the video was being taken off of YouTube because the publisher’s year-long license to post the song was expiring. But at least for now it appears he got another extension and the video is still available.]
According to the Canadian Space Agency, Hadfield has made several journeys into space. Regarding his latest mission, the website states: “On December 19, 2012 he launched aboard the Russian Soyuz, enroute to becoming the second Canadian to take part in a long-duration spaceflight aboard the ISS. On March 13, 2013 he became the first Canadian to command a spaceship as Commander of the ISS during the second portion of his five-month stay in space.” As for the guitar in the video, it has been in space since 2001 in the Space Station, providing diversions for many astronauts who have visited.
It is great that not only is Hadfield doing important scientific work, but he is helping spread awareness about the space program through these fun activities. He sings well too. We wish him well and that, unlike Major Tom, he gets home safe. You may follow Hadfield on Twitter (@Cmdr_Hadfield) and on Facebook. As for David Bowie, he already Tweeted his approval:
CHRIS HADFIELD SINGS SPACE ODDITY IN SPACE!“Hallo Spaceboy…”Commander Chris Hadfield, currently on… fb.me/24sZNW5ly
— David Bowie Official (@DavidBowieReal) May 12, 2013
What is your favorite part of the astronaut video? Leave your two cents in the comments.
On May 12, 1963, Bob Dylan walked off the set of The Ed Sullivan Show after CBS executives objected to lyrics in his planned performance of “Talkin’ John Birch Paranoid Blues.” The satirical song about the conservative John Birch Society and the organization’s fear of communists had not been a problem during dress rehearsal, and Ed Sullivan had not objected to the song. But CBS lawyers were worried that the song might subject them to lawsuits. Rather than sing another song or change the lyrics, Dylan left, never performing on the popular show.
Although many have repeated the legend that Dylan had a tantrum and stormed off in anger, contemporary reports indicate Dylan was polite about the affair. When a producer explained the options to Dylan, the singer just responded that he only wanted to sing “Talkin’ John Birch Paranoid Blues,” and otherwise he would leave.
Thus, Dylan, whose second album The Freewheelin’ Bob Dylan had not yet been released, passed up the big break on national TV. The incident, however, received a lot of attention, actually helping Dylan’s sales, and in interviews Ed Sullivan stated he did not agree with the decision.
Thus, there is no Ed Sullivan Show performance of the song for us to hear. So below is another performance of “Talkin’ John Birch Paranoid Blues” from the same year.
Reportedly, one side effect from the Ed Sullivan controversy was that CBS’s record division, Columbia, then became concerned about the song being on The Freewheelin’ Bob Dylan. At that time, with only one weak-selling album under his belt, Dylan could not fight with the record company. So the song was pulled from the album, and Dylan used the opportunity to make some other last-minute song switches. A live 1963 performance of “Talkin’ John Birch Paranoid Blues” would officially be released in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.
Should Dylan have changed the lyrics like The Doors and Rolling Stones did for the same show? Leave your two cents in the comments.
In this video, director Brian Billow imagines how Kiss might have come to write their hit song “Beth” from their 1976 Destroyer album. Bob Winter, executive creative director at Crispin Porter + Bogusky, had the idea for the story. Check out this “historically inaccurate tale of the song’s inspiration.”
[2015 Update: If the video does not work for you, it is also available on Vimeo.]
The video, however, is not as “historically inaccurate” as it claims. Guitarist and songwriter Stan Penridge wrote a version of “Beth” while he was in the band Chelsea, which future Kiss drummer Peter Criss joined for awhile. In the song’s original version, the title name was “Beck” after Becky, Chelsea bandmate Mike Brand’s wife, who often called during practices.
Penridge later explained that the genesis of the song is not that far from Billow’s funny video. Penridge stated that the lyrics came “almost word for word, from Mike Brand’s responses to his wife’s constant calls that interupted our rehearsals. It got to the point where I wrote down his remarks over a period of 3 or 4 days . . . ”
Although I have always heard “Beth” as a love song, Penridge explained that one might see the song as “a hen-pecked hubby’s remarks to his nagging wife.” While in David Leaf’s and Ken Sharp’s book KISS: Behind the Mask Penridge acknowledges that the song was “basically written as a joke,” he also appreciates that the song evolved into something different that he also likes.
There are some questions about how much writing credit for the final version of “Beth” should be given to Criss, who sings lead on the Kiss recording of “Beth” and is listed as a co-writer with producer Bob Ezrin. Although sources name Criss as one of the co-writers of the final version, band co-founder Gene Simmons claims that the song was written only by Penridge and Ezrin. Simmons and Criss on not on the best terms, but Penridge seemed to confirm Simmons’s version in a 2000 interview (“Another poorman’s copyright by me in ’70”).
Still, Criss’s relation with the song goes back before Kiss. After Criss was in Chelsea and even before he was in Kiss, he recorded “Beck” with a band called Lips.
The name of the song was later changed to “Beth” so it would be a more recognizable woman’s name. Here is a Kiss version of the song we all know from the 1978 TV-movie Kiss Meets in Phantom of the Park.
After “Beth” was recorded, nobody realized it would become such a big hit. Some band members did not want it on the album, and it was initially released not as a single but as a B-side to “Detroit Rock City.” But then “Beth” became Kiss’s first gold record and one of their most recognizable songs.
No matter what role he played in the lyrics, Criss’s great vocals on the recording certainly helped make it a hit. Others have sang the song too. Eric Singer has rotated in and out and back into Criss’s seat behind the drums with Kiss, so Singer also has performed “Beth.”
There are a number of covers of “Beth,” including a nice one by Adam Lambert when he was on American Idol in 2008. Not surprisingly, the Glee cast performed the song too. Perhaps the most unusual cover appears in the movie Role Models (2008), where Paul Rudd wins back his girlfriend named Beth by making up some new lyrics to the song.
I have not been able to find what happened to Mike Brand and “Becky,” the two who inspired the song. But I hope they are still together and that she still calls him at work after all these years. It would make a great love song.
What is your favorite version of “Beth”? Leave your two cents in the comments. Note: This post was updated March 2014 to include Gene Simmons’s comments about the writing of the song.
After George Jones passed away, a number of articles about him recalled a famous quote from Frank Sinatra where Sinatra called George Jones “the second-best singer” in the world. The Kennedy Center uses the quote on its page about Jones, and after Jones’s death, The Atlantic used the “second-best” quote in its headline. Some articles asserted that Sinatra said that Jones was the second-best “white” singer, implying that Sinatra recognized the great history of great non-white singers, and others claimed Sinatra used the qualification “in America,” while Philly.com claimed that Sinatra added the qualification “male.” While Jones is a great singer and any one of these statements is high praise coming from Ol’ Blue Eyes, it also raises the question about who did Sinatra then think was “the best”?
Most articles did not answer that question and encouraged or left the impression that Sinatra meant that he himself was the best singer. For example, Examiner.com and NBC’s Today Show website stated the quote about Sinatra saying Jones was the second-best “white” singer with both adding, “No prizes for guessing first place,” as if it should be obvious that Sinatra’s ego would lead him to put himself in the top spot. George Jones’s own website implies that Sinatra saved the top spot for himself: “Frank Sinatra famously (and coyly) referred to Jones as ‘the second greatest singer in America.'” The legendary Rolling Stones guitarist Keith Richards made the same mistake in his otherwise touching statement about the passing of the great country singer: “Sinatra called him the second best singer ever. (The number one obviously being Frank!).”
But Sinatra did not put himself in the top spot, which he reserved for Tony Bennett. I have not found a reliable source for Sinatra’s entire quote about George Jones and Tony Bennett to verify whether Sinatra used any of the qualifications such as “white,” “in America,” or “male.” But other sources give us a good idea who Sinatra put in the first place spot. Throughout his career, Sinatra often claimed that Tony Bennett was the best singer, so it does make the most sense that he was ranking Jones in the second slot not because of himself but because of his love for Bennett. For example, a 1965 Tony Bennett album featured this quote from Sinatra: “For my money Tony Bennett is the best singer in the business.” Frank Sinatra, even in death, does not need me to defend his ego. But these articles in their attempts to praise the great George Jones unfortunately made Frank Sinatra sound like an egomaniac (or more of one than he was) and slighted Tony Bennett at the same time.
So to right this wrong, watch this video of Tony Bennett singing “Body and Soul” with Amy Winehouse and note what a great singer he is (as well as what a great singer the late Winehouse was). Their duet on “Body and Soul” appeared on Bennett’s 2011 Duets II album.
Who is your favorite singer of all-time? Leave your two cents in the comments.
Penridge acknowledges that the song was “
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