“Soul” Songs That Aren’t Soul Music: Hey, Soul Sister

tran san francisco Happy April Fool’s Day. Today, we consider the prank played by Train’s song, “Hey, Soul Sister,” where upon hearing the title you expect the song to be some type of soul song. Train’s joke is revealed from the moment you hear the strumming of the ukelele and you soon realize instead that “Hey, Soul Sister” is a boy band song. And a darn good one at that.

I liked Train since they released their first self-titled album in 1998. And when they later released “Drops of Jupiter” in 2001 on the album of the same name, I loved the song even as it was played endlessly on the radio. But then I did not hear about them for years, and suddenly there was this big hit I saw referenced several times before I actually heard it, “Hey, Soul Sister” from Save Me, San Francisco (2009).

According to Wikipedia, “it is the 8th most downloaded song in history, the most downloaded song of all time for Columbia Records, the top-selling song on iTunes in 2010.” Eighth in history? And I realize that it may not be fair to compare songs that were not released for the first time in the age of the Internet, but if it is the most downloaded song of all time for Columbia, it has been downloaded more times than Bob Dylan’s “Like a Rolling Stone” and Bruce Springsteen’s “Born to Run.” It was huge.

While “Hey, Soul Sister” is a good song, I must admit I never understood why it became such a gigantic hit for Train. According to Train lead singer Patrick Monahan, who co-wrote the song, he was inspired by imagining what it would be like to attend Burning Man, a party in the desert with naked people running around. But for some reason, I doubt they listen to “Mr. Mister” at Burning Man, so I do not know what he was thinking. Here’s the acoustic ukelele-only version.

Monahan has an excellent voice, and you cannot help but sing along, but it seems odd that a man of Monahan’s age (40 the year the song was released) sings the cheesy line, “You’re so gangsta, I’m so thug.” Yet, the line works when someone young sings the song, as a young man might be so naive — and sincere — to make such a silly claim to the object of his affection. The rest of the lyrics fit better for a naive young singer too.

You gave my life direction, a game show love connection we can’t deny;
I’m so obsessed, my heart is bound to beat right out my untrimmed chest;
I believe in you, like a virgin, you’re Madonna, and I’m always gonna wanna blow your mind.

“My untrimmed chest”?

That is why the song works so much better as a boy band song, and why I never particularly “got” the song until I heard it performed by singers on Glee on one of the few episodes of the TV show I have seen. While I am not a fan of of the boy band era of music, I am not so snooty that I can resist a good pop song. And if you are going to do a boy band song, it should be left to the boy bands. And the song works much better for Darren Criss and the Warblers, who make the hit song their own on Glee.

Which version do you like? Is there any soul in “Hey, Soul Sister”? Leave your two cents in the comments.

And who are these people listening to Mr. Mister?

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    You Can Get Killed Just for Living in Your American Skin

    Last Friday, Bruce Springsteen dug his song “American Skin (41 Shots)” from Live In New York City (2000) out of the vault in Tampa, Florida. Without any comment from Springsteen, the reason for the song eventually became clear to the crowd. Although it was written about New York police shooting the unarmed Amadou Diallo in February 1999, the refrain about getting killed just for living in your “American Skin” resonated in Florida, where this February the 17-year-old unarmed Trayvon Martin was killed.

    While everyone is still sorting out what happened in the incident, both liberal and conservative commentators have been doing a lot of yelling. While one may debate whether Springsteen’s decision to bring back “41 Shots” helps with the debate or just adds more confusion to the developing story, when Nils Lofgren’s electric guitar kicks in after the 3-minute mark, there is no question. Even more than the refrain, the building tension and screaming guitars say that despite all of the rhetoric on both sides, it’s a damn tragedy.

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    RIP Earl Scruggs

    Earl Scruggs Legendary musician and banjo player Earl Scruggs passed away this morning at the age of 88. Even if you were not listening to bluegrass at the time and were a kid watching television, you still knew Flatt & Scruggs, as I did every week when I watched The Beverly Hillbillies and they played their instruments on “The Ballad of Jed Clampett” to open the show (with Jerry Scoggins singing on the version used on the show).

    During his great career, Scruggs played with a number of famous artists, including Bob Dylan, the Byrds, Ravi Shankar, King Curtis, Elton John, and many others. The actor, comedian, and banjo-player Steve Martin wrote about Scruggs in The New Yorker earlier this year, “Few players have changed the way we hear an instrument the way Earl has.” Below is a clip from 2006 where Martin joins Scruggs to play “Foggy Mountain Breakdown” on The Late Show with David Letterman.

    Scruggs started with Bill Monroe’s Blue Grass Boys in 1945, but then left with Lester Flatt to form the Foggy Mountain Boys, which later became known just as Flatt & Scruggs through the 1950s and 1960s. Scruggs also was one of the few country or bluegrass artists who spoke out publicly against the war in Viet Nam, appearing at the 1969 US Vietnam Moratorium in Washington, DC. Below is Flatt & Scruggs playing “Roll in My Sweet Baby’s Arms.”

    Flatt passed away in 1979. Here’s hoping somewhere the two are making some sweet music again. RIP.

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    Anniversary of Uncle Tupelo’s “March 16-20, 1992”

    uncle tupelo march 16-20 1992

    This month is the anniversary of Uncle Tupelo’s album March 16-20, 1992, which for some strange reason is the only album in my collection where I remember the exact date it was made. The album, which was produced by R.E.M.’s Peter Buck, was recorded on the dates in the title, featuring both original songs and traditional songs.

    This third album from Uncle Tupelo reflected the band’s frustrations with its record label, so the band decided to record music they wanted to record without regard for popular tastes. Below is Uncle Tupelo performing one of the traditional songs on the album, “Moonshiner” in Columbia, Missouri on November 13, 1992.

    The CD also featured the Louvin Brothers classic, “Atomic Power.” Here is Uncle Tupelo performing the song on April 30, 1994 in St. Louis, Missouri at their second-to-last show together.

    The first song on the album, “Grindstone,” is one of my favorites of the CD. I could not find a live Uncle Tupelo performance of the song. But after Uncle Tupelo broke up, Jay Farrar, who wrote “Grindstone,” performed it with his new band, Son Volt in Minneapolis on October 16, 1995. Check it out below.

    Uncle Tupelo was at the forefront of the alt-country/Americana music scene in the 1990s. And the title of their first album, named after a Carter Family song, gave the name to the leading magazine of the genre, No Depression. But after March 16-20, 1992, the band released only one more CD, Anodyne (1993).

    After the band’s final album, Jay Farrar and Jeff Tweedy dissolved the band in 1994 to go on to create more music with new bands, including fantastic work with Son Volt and Wilco, respectively.

    But those five days in March on this date all those years ago, they created one of the albums that defined their permanent place in music history.

    What is your favorite Uncle Tupelo song? Leave your two cents in the comments.

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    Buck Owens: Don’t Judge a Man’s Music By His Overalls

    Buck Owens Hee Haw On March 25 in 2006, Buck Owens, who was born Alvis Edgar Owens Jr., passed away. When I was a kid, I thought Buck Owens was just a goofy guy who wore his overalls backwards and joked around on Hee Haw with Roy Clark (see comments below for further discussion about the backwards overalls). But as I grew up and learned more about classic country music, I discovered that Owens was a legend who made great music with his band, The Buckaroos.

    Along with Merle Haggard, Owens was one of the first to stand up against the slick Nashville music to help create and popularize a rock-influenced honky tonk music called “the Bakersfield sound.” That music influenced and continues to influence many great country artists like Brad Paisley.

    For example, in the clip below, Owens and his long-time legendary guitarist Don Rich performed “Love’s Gonna Live Here” in 1966 on the Jimmy Dean Show.

    One of the artists touched by Owens is Dwight Yoakam. After Owens lost his friend and guitarist Don Rich in a motorcycle accident in 1974, Owens drifted out of the spotlight and eventually stopped recording music. In 1988, though, Dwight Yoakam helped bring Owens back to popularity when the two recorded a new version of Owens’s 1973 hit written by Homer Joy, “Streets of Bakersfield.”

    The collaboration between Yoakam and Owens on “Streets of Bakersfield” gave Owens his first number one song in sixteen years. I love this song.

    A Buck Owens biography portrayed Owens, who was married several times as sort of a jerk at times. But like he asks in “Streets of Bakersfield” about walking in another person’s shoes (or overalls), “[H]ow many of you that sit and judge me / Have ever walked the streets of Bakersfield?”

    Country musicians were not the only ones who recognized the talent of Buck Owens and the great Bakersfield sound. In “Far Away Eyes” from Some Girls (1978), the Rolling Stones lyrics described driving through Bakersfield on the country sounding song. Creedence Clearwater Revival mentioned Owens in “Lookin’ Out My Back Door” (“Dinosaur Victrola, Listenin’ to Buck Owens”) on Cosmos Factory (1970).

    Even more famously, in 1965 the Beatles covered one of Owens’s songs, “Act Naturally,” on Help! with Ringo Starr singing lead. Years later, Buck and Ringo joined their humor and musical skills to record a new version of “Act Naturally.”

    When Owens passed away in 2006, he was sleeping in his bed. Hours earlier he was not feeling well and considered canceling a performance until he heard some fans had traveled from Oregon to California to hear him perform.

    So he stood on stage at his Crystal Palace club and restaurant, singing one last time in Bakersfield.

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