The Temptations – “Ball Of Confusion,” Pop # 3, R&B # 2
By Joel Francis
The Daily Record
Clocking in at over four minutes, “Ball of Confusion” was an epic by Motown standards. The arrangement and themes, however, were very much in line with the top-shelf, psychedelic social commentary songwriter and producer Norman Whitfield had been consistently turning out.
Sonically and thematically, “Ball of Confusion” doesn’t stray from the formula Whitfield developed for the Temptation in 1968 with “Cloud Nine.”
If Sly Stone were Martin Luther, this is how he would have delivered his 95 Theses. In a cadence cribbed in Bob Dylan’s delivery from “Subterranean Homesick Blues,” Dennis Edwards lists his grievances: “segregation, determination, demonstration, integration, aggravation, humiliation, obligation.”
The arrangement is just as claustrophobic and frustrated as the lyrics, with nearly every instrument – electric organ, wah guitar, drums and vocals – threatening to strangle each other in the mix. Brief bursts of harmonica or horns provide the only moments of relief. Edwards handles the lion’s share of the singing, but once again the other four members tag-team lead duties. Bass singer Melvin Franklin memorably punctuates each verse with the adage of complacency – “and the band played on.”
“Ball of Confusion” isn’t exactly a fun song, but it is a lot of fun to listen to. The song was the Tempts’ second strong single of the 1970s, landing in the Top 5 on both the pop and R&B charts. It also marked their third straight solo Top 10 hit.
The complex number isn’t easy to replicate, but that hasn’t stopped others from trying. Shortly after the Tempts’ number had dropped in the charts, Berry Gordy handed the tune to another Motown group, the Undisputed Truth, to try their hand. A generation later, pop band Duran Duran and metal outfit Anthrax both released covers in the 1990s. The 21st century also saw a resurgence of interest in the song, with the Neville Brothers, Widespread Panic and Tesla all releasing covers.
The song also appeared as a centerpiece in the film “Sister Act Two: Back in the Habit” (featuring a young and then-unknown Lauryn Hill). It’s biggest distinction outside of Motown, however, is in kick-starting Tina Turner’s solo career in the early ‘80s. Turner’s reading appeared on a 1982 tribute album, it wasn’t a big hit in the United States or United Kingdom, but it did hook her up with the songwriters and producers who helmed Turner’s multi-platinum comeback effort, “Private Dancer.”
Above: Jack White and Alicia Keys do the latest James Bond song, “Another Way To Die.”
By Joel Francis
Duran Duran bass player John Taylor probably had the previous two James Bond themes in mind when he drunkenly approached producer Cubby Broccoli at a party and asked when they were going to get someone “decent” to do a Bond song.
It didn’t take long to learn the answer. Duran Duran’s “A View To A Kill” was a No. 1 hit, re-establishing Paul McCartney’s precedent of letting successful pop acts write and perform title songs hit. While the big synthesizers and processed drums haven’t aged well – few pop songs from the ’80s have – the chorus of “dance into the fire” remains as catchy as ever. The song also marked the last time original Duran Duran’s lineup recorded together for 16 years.
Encouraged by Duran Duran’s success, the Bonds producers handed the reigns to another pop act for 1987’s “The Living Daylights.” After being rejected by the Pet Shop Boys, who wanted to score the entire film, a-ha, the band best known for its 1985 No. 1 hit “Take On Me,” agreed to take on Bond. Sporting similar dated production as Duran Duran’s hit, but weaker songwriting and overly sensitive singing, “The Living Daylights” became another Bond footnote.
The lush orchestration associated with early Bond numbers was back for Gladys Knight’s “License to Kill” in 1989. Composer Michael Kamen did a good job incorporating the “Goldfinger” horn line into the main melody, but the lyrics and melody are bland. It’s a shame that Knight, who has one of the strongest soul voices of all time, wasn’t given stronger material. Bond’s further musical malaise is marked by the presence of Patti LaBelle’s end credits theme, “If You Asked Me To,” which was later covered by Celine Dion. Dion’s appearance marks the nadir of any expedition.
After a six-year hiatus and casting change, Bond returned in 1995’s “Golden Eye.” Written by U2’s Bono and The Edge, “Golden Eye” found the duo continuing in the same vein as their summer hit “Hold Me, Thrill Me, Kiss Me, Kill Me.” The arrangement wraps the duo’s discotheque infatuation around a haunting melody build on a horn line. Tina Turner masterfully teases Bono’s voyeuristic lyrics and was rewarded with a Top 10 hit in Europe. “Goldfinger” was the best Bond song in a generation and helped successfully jumpstart the franchise.
After the powerful, soulful voices of Knight and Tuner, Bond’s producers turned to another American female in 1997 for “Tomorrow Never Dies.” Sheryl Crow brought strong songwriting chops and chart-topping cache, but she lacked the voice to carry her melody. Her vocals fare well during the verses, but the chorus is too high for Crow’s register where her throat lacks the energy to carry the words and emotion. k.d. lang’s “Surrender,” written by the film’s composer David Arnold, fits firmly in the Bond mold of big strings and brassy horns and would have been a better opening number. Unfortunately, it was retitled and pushed to the closing credits once Crow signed on. Finally, pop-techno musician Moby was enlisted to remix Monty Norman’s “James Bond Theme.” The result was a rare update that successfully enhanced and modernized the original.
Arnold successfully married his large orchestration with light techno elements for “The World Is Not Enough.” Garbage singer Shirley Manson slithers through the lyrics with authority and the rest of the band maintains a tasteful balance between rock and orchestral while adding their stamp to the song.
Madonna was easily Bond’s biggest star pull since Paul McCartney when she signed up for “Die Another Day” in 2002. While the film may have been Bond-by-numbers, Madonna blew up the formula for her electronic theme song. Her manipulated vocals hide behind banks of synthesizers and strings and spout the memorable line “Sigmund Freud/analyze this.” Although the song spent 11 weeks at the top spot of the U.S. charts, it is unlike any other theme in the Bond cannon and, as a result, not without controversy. The Material Girl wouldn’t have it any other way.
Bond was rebooted once again in 2006 for “Casino Royale.” As the character became grittier, so did the music. Chris Cornell’s “You Know My Name” is easily the hardest number in the Bond cannon, cut from the same stone as Alice Cooper’s rejected “Man with the Golden Gun” that repulsed producers 30 years ago.
Confirming they were no longer afraid to rock out, White Stripes mastermind Jack White was enlisted to perform “Another Way To Die” for 2008’s “The Quantum of Solace.” Unsurprisingly, White’s song sounds like a heavily orchestrated White Stripes number given an urban twist courtesy of the piano and vocals of Alicia Keys. Stripped of the overproduction that plagues her solo releases, Keys shines under White’s watch. Her call and response with White’s dirty guitar licks halfway through the song channel “What I’d Say” through Jimmy Page’s amplifier. The number is the first Bond theme performed as a duet, but based on the openness Bond’s producers have shown in the past decade, it will likely not be the last.