Feeds:
Posts
Comments

Posts Tagged ‘My Girl’

(Above: Friday’s Kanrocksas headliner Eminem performs “Lighters” sans Bruno Mars.)

By Joel Francis
The Daily Record 

Note: For my coverage of the Kanrocksas music festival, I decided not to cover any band’s previously reviewed by The Daily Record. Visit the archives to read about the Arctic Monkeys, Black Keys, Flaming Lips, Flogging Molly and Girl Talk. Stay tuned for Kanrocksas Day 2 early next week.

The Joy Formidable

The crowd assembled for this Welsh-trio likely would have been much larger if they weren’t going head-to-head with Fitz and the Tantrums. As it was, the crowd wasn’t much bigger than what would pack the Granada Theater in Lawrence, but judging by facial expressions as the audience dispersed most people left impressed.

Much of the band’s 40-minute set drew from “The Big Roar,” the critically praised album released earlier this year. Songs performed included “Cradle,” “The Greatest Light is the Greatest Shade” and the non-album single “Greyhounds in the Slips.”

Lead singer/guitarist Ritzy Bryan threw herself into the set-closing “Whirring,” hurling herself at the mic as she sang enthusiastically. Bryan later conjured images of Jimi Hendrix at Monteray when she threw her guitar on the ground and knelt over it to coax out some otherworldly sounds. Drummer Matt Thomas punctuated the noise with double-pedal rolls on the bass drum.

D12

Eminem’s Detroit cronies took the stage 20 minutes late – not bad by rap standards, but kind of a big deal when your allotted time is barely over half an hour.

Rapping over what sounded like their own commercial CDs – Eminem’s backing vocals were clearly audible despite his absence – the quartet employed what I like to call the “gang of yelling.” Technique: one rapper delivers most of the verse with the rest chiming in on the four count or the end of a phrase. The name is derived from the end result: an indiscernible cacophony of yelling.

Wearing a purple shower cap and red Angry Birds t-shirt, Bizarre led the group in rhymes about murder, family (“Loyalty”), women (“She Devil”) and weed, lots of weed. At one point the group parodied the Temptations attempting a synchronized dance routine and faux crooning about “my weed” over a sample of “My Girl.” Like the rest of their performance it was obvious, uninspired and unnecessary.

Kid Cudi

Kid Cudi writes pop/rock songs delivered as soul numbers draped in hip hop attitude. As his four-piece band vamped over a heavy prog-rock riff, Cudi skipped onstage wearing a Joan Jett t-shirt. Cudi’s hour-long set veered from rap (“Soundtrack to My Life”), ‘80s pop (“Mr. Rager”) to indie pop (“Pursuit of Happiness”). Several times he transformed the large lawn into a huge dance club.

The music tipped heavily toward Cudi’s sophomore album released this year, “Man on the Moon II: The Legend of Mr. Rager,” but included the singles from Cudi’s 2009 debut and an a capella medley of favorites from the 2008 mixtape “A Kid Named Cudi.” Regardless of the source, fans enthusiastically sang along to Cudi’s songs about isolation and escapism through marijuana.

Cudi’s previous stop at the Midland Theater last spring was by all accounts a disaster. The difference this time the presence of live instruments, which emphatically translating Cudi’s charismatic  energy throughout the massive crowd. The triumph represented both the largest crowd and biggest response of the day, aside from headliner Eminem.

Major Lazer

The DJ duo of Dilpo and Switch – best known for their work with MIA and Beyonce’s “Girls (Who Run the World)” – were unfortunately slotted against California dj Bassnectar. With Bassnectar monopolizing the main stage, Major Lazer were unfortunately relegated to the Critical Mass Tent, an oversized carport with horrible air circulation stranded in the middle of port-a-potty land.

None of this stopped the dedicated from dancing as the pair blended standard techno tracks with touches of dancehall, Harry Belafonte, Lynryd Skynryd and their own “Keep It Goin’ Louder” from 2009’s full-length “Guns Don’t Kill People, Lazers Do.”

Surrounded by four frantic LED screens, the pair got an assist from an over-the-top hype-man with a deep Jamaican patois and a dancer whose primary job was to perform headstands on every accommodating surface onstage, including on top of both stacks of speakers.

Keep reading:

Review: Kanrocksas (Day 2)

10 Must-see bands at Kanrocksas (part 1 – Friday)

Wakarusa Music Festival: A Look Back

Advertisements

Read Full Post »

Supremes_You_cant_hurry_love

The Supremes – “You Can’t Hurry Love,” Pop #1, R&B #1

By Joel Francis

The bouncing bassline that opens this song is courtesy of James Jamerson, the same man who delivered the delightful and legendary three-note thump that introduces “My Girl.”

The intro to Holland-Dozier-Holland’s masterpiece “You Can’t Hurry Love” is a lesson in how to build a Motown hit: Start with the bass and percussion, add some horns (or strings) and then have a pretty voice jump into a catchy verse.

Diana Ross may not have had the prettiest or best female vocal on the Hitsville roster, but by 1966 she had the most recognizable one. And for once her thin tone actually works in her favor. Ross’s voice perfectly conveys the naivety and innocence of a lovelorn girl trying to be patient – “remember mama said,” she sings – to little avail. Ross would seldom reveal so much of herself in song again, hiding behind “big” vocals a la “Ain’t No Mountain High Enough.”

When this song was recorded, Ross was little more than a year away from getting top billing and four years removed from going solo. Even still, Mary Wilson and Florence Ballard are little more than anonymous backing singers in the mix. Although the track is as perfect as a song can be, it’s a shame their talent wasn’t given greater prominence.

While this song may be held up as Exhibit A by haters who think Motown is too slick and soulless, it is also testament to how smoothly the Motown assembly line was working. The song was recorded in just two sessions. Presumably the Funk Brothers laid down everything but the vocals at the June 11, 1966 session and the Supremes added their vocals at the July 5 session. Little more than three weeks later, the single was on the radio. By September, only three months after initial recording, it sat at No. 1 and earned the trio a high-profile performance on the Ed Sullivan show.

“You Can’t Hurry Love” had a renaissance in the 1980s. Phil Collins took it to the Top 10 in 1982, the same year the Stray Cats put it on the flip side of “Rock This Town.” Whoopi Goldberg sang it in her 1986 film “Jumpin’ Jack Flash,” and former Jimi Hendrix/Electric Flag drummer Buddy Miles sang it as the voice of the California Raisins (which, sadly, was the first version The Daily Record heard and its non-oldies radio introduction to classic R&B).

Read Full Post »


The Temptations – “My Girl,” Pop #1, R&B #1

By Joel Francis

Lightning definitely struck twice for Smokey Robinson and the Temptations. After struggling for years, Robinson gave the Temptations their breakthrough hit with “The Way You Do The Things You Do.” “My Girl,” their follow-up, is not only Motown’s biggest song, but one of the biggest soul numbers of all time.

Inspired by his wife Claudette, Robinson and fellow Miracle Ronald White wrote the one of the greatest Valentines of all time as an answer song to their previous hit “My Guy.” Bob Dylan may have been thinking of the lyric “I’ve got so much honey/the bees envy me” when he proclaimed Robinson “America’s greatest living poet” in 1965.

David Ruffin made his lead vocal debut delivering these deceptively simple lyrics. Though it seems a no-brainer in retrospect, the decision was controversial at the time. Eddie Kendricks and Paul Williams had shared the lead role prior to this song, and, to make matters worse, Ruffin was a ringer who replaced original Temptation Al Bryant. Ruffin got the nod after Robinson saw him singing “Under the Boardwalk” as part of their Motown Revue repertoire, and quickly became the group’s featured singer.

The Motown string section furthers Ruffin’s references to sunshine and fluttering birds, while Funk Brother James Jamerson’s signature two-note bass line anchors the entire performance.

It’s unclear why Robinson and White didn’t keep their song for The Miracles, but it didn’t take long for other acts to put their stamp on the number. Otis Redding added some blues for his 1965 reading; both the Rolling Stones and the Mamas and Papas cut it in 1967. Since then, everyone from Al Green to reggae artist Prince Buster to Dolly Parton to British shoegazers The Jesus and Mary Chain has reinterpreted this timeless classic.

Read Full Post »