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Posts Tagged ‘Carol King’

(Above: Pete Yorn and his band are still living “Life on a Chain” at the Voodoo Lounge on Feb. 20, 2011.)

By Joel Francis
The Kansas City Star

Pete Yorn and Ben Kweller delivered a two-hour clinic on rock songwriting in front of a small but enthusiastic crowd at Harrah’s Voodoo Lounge on Sunday’s night.

Kweller’s 45-minute opening set revealed his debt to the singer/songwriter movement of the early ‘70s. Alternating between acoustic guitar and piano, Kweller delivered several fan favorites, including “I’m On My Way,” “Thirteen” and “Penny on the Train Track.” Stripped bare, his songs could have slipped comfortably on the AM radio dial next to Carol King, James Taylor and Bob Dylan.

Highlights included the country folk of “Fight,” the luscious piano ballad “In Other Words” and a big moment on “The Rules” when Kweller stomped on a surprise pedal and turned his acoustic guitar into a snarling, distorted electric beast.

Although the low-key set initially underwhelmed the bar patrons, Kweller eventually won them over with his combination of good-natured banter and strong songwriting. By the final note the room was his.

If Kweller’s showcase was a bare-bones, how-to session, Yorn’s full-blown, full-band set delivered lessons on layering and arrangements.

After opening with three songs from last year’s self-titled album (his fifth overall), Yorn reached back to his debut, 2001’s “musicforthemorningafter.” “Life on a Chain” got the crowd fully engaged while “Just Another” showcased Yorn’s sensitive side.

Written almost entirely with major chords, Yorn’s songs are like a self-affirmation clinic with guitars. With a full workweek looming, Yorn sprayed sunshine on the unsuspecting crowd with a barrage of optimistic lyrics such as “seeing is believing” (“Murray”), “convince yourself that everything is alright” (“For Nancy”) and “life’s been great to me” (“Future Life”). A wistful look back at childhood (“Velcro Shoes”) was especially sepia toned, but none of it seemed particularly over the top.

The only exception to this was a solo acoustic reading of Neil Young’s “Rockin’ in the Free World.” Before playing the song Yorn told the crowd it was the first song he ever played before an audience, at age 15. He added that the lyrics didn’t fully sink in until he performed the song a few weeks ago at Carnegie Hall. This newfound understanding clearly weighed heavily on Yorn. The mournful, down-tempo arrangement was delivered with a sense of doom.

With or without his band, Yorn stayed primarily on acoustic rhythm guitar, so it was up to second guitarist Mark Noseworthy to provide different textures. The band’s not-so-secret weapon, Noseworthy played a mean slide solo during a cover of Junior Kimbrough’s “I Feel Good Again” and a delicate countermelody on “On Your Side” that helped the song swell like a poignant lump in the throat.

The brief 70-minute setlist was split nearly evenly between songs from Yorn’s first and newest releases, but Yorn seemed just about as tired of playing the old songs as the crowd was of signing them. Which means when he inevitably rolls through town again soon, everyone will enjoy one more cheerful romp.

Pete Yorn setlist: Precious Stone; Badman; Rock Crowd; Life on a Chain; Just Another; Velcro Shoes; I Feel Good Again; Rockin’ in the Free World; Burrito; Strange Condition; Future Life; On Your Side; Closet; For Nancy (‘Cos It Already Is). Encore: For Us; Murray.

Keep reading:

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Review: Jack Johnson

Review: Bob Dylan

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ain't nothing
Marvin Gaye and Tammi Terrell – “Ain’t Nothing Like the Real Thing,” Pop # 8, R&B # 1

By Joel Francis

Marvin Gaye and Tammi Terrell’s first album together, “United,” was a smash that spawned three Top 5 R&B hits and turned Gaye into a soul superstar. A follow-up was inevitable. In March, 1968, less than three months after the release of their previous single, “Ain’t Nothing Like the Real Thing” announced the fruits of the duo’s new collaborations.

“Ain’t Nothing Like the Real Thing” is more of a Brill Building pop song than a soul number. Each singer gets two brief verses, but the heavy emphasis is on the chorus, which is usually repeated. There is a touch of Carol King’s phrasing in Terrell’s verses and the piano line – particularly the bit that introduces the first verse owes to King’s style. Although the structure is deceptively simple, the song works because the hook allows the complementary voices to dance. The clever bridge also surprises up the verse-chorus structure.

The song is definitely outside of the Motown paradigm, but Gaye’s voice , especially the soulful moans that appear after the drums and bass introduce the song, let the listener know we’re still deep in Motown territory.

Sadly, “Real Thing” was the next-to-last “real thing” Gaye and Terrell worked on together. In October, 14, 1967, following the completion of the No. 1 R&B hit “You’re All I Need To Get By,” Terrell collapsed in Gaye’s arms while performing at college homecoming in Virginia. Doctors diagnosed Terrell with a brain tumor and her days as a singer and performer were over.

Gaye completed the pair’s second album, “You’re All I Need,” by overdubbing his voice to Terrell solo recordings, a trick reprised on the duo’s third and final album, “Easy.” Largely present in name only, “Easy,” found Valerie Simpson standing in for Terrell on all but two albums. “Easy” spawned three Top 20 R&B hits, but nothing as influential or wonderful as “Real Thing.”

When Terrell died at age 24 on March 16, 1970, Motown released her final “duet” with Gaye in tribute.

“Ain’t Nothing Like the Real Thing” has been a go-to duet for 40 years. Diana Ross and the Supremes were the first to capitalize, recording a version with the Temptations in 1969. The following year the Ross-relieved Supremes cut another version with the Four Tops. The Jackson 5 included their cover on their 1972 album “Lookin’ Out the Windows.” Aretha Franklin recorded a rare solo version of the song in 1974.

Other performers to record “Real Thing” include Donny and Marie Osmond, Gladys Knight and Vince Gill, Elton John and Marcella Detroit, and Beyonce and Justin Timberlake. Michael McDonald and Boyz II Men also included interpretations of the number on their Motown tribute albums.

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