Curio Cabinet / Song Curio
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FREEMusic Song CurioFree2 CQ
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
We've all heard it before: You are my sunshine, my only sunshine. Jimmie Davis' saccharine chorus from 1939 is so ingrained in the collective human psyche, it's been translated into 30 languages and performed by over 350 notable artists, including Gene Autry and Bing Crosby. In May 1944, the song even helped Davis transition from celebrity songwriter to governor of Louisiana. Davis, who was chasing public offices by day, moonlit as a country singer at his local radio station, performing raunchy tunes like Organ Grinder's Blues. His political rivals cited vice-filled songs like Grinder's to discredit him, but with Sunshine, Davis could do no wrong—even if the second verse warned his ex-love they'd "regret it all some day." He managed to woo voters along the campaign trail by continuously yodeling the tune—what he called "shucking the corn." In 1944, he became governor. Let's hope the governor's mansion had room for his horse that he named "Sunshine"!
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Image credit & copyright: Bear Family
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
We've all heard it before: You are my sunshine, my only sunshine. Jimmie Davis' saccharine chorus from 1939 is so ingrained in the collective human psyche, it's been translated into 30 languages and performed by over 350 notable artists, including Gene Autry and Bing Crosby. In May 1944, the song even helped Davis transition from celebrity songwriter to governor of Louisiana. Davis, who was chasing public offices by day, moonlit as a country singer at his local radio station, performing raunchy tunes like Organ Grinder's Blues. His political rivals cited vice-filled songs like Grinder's to discredit him, but with Sunshine, Davis could do no wrong—even if the second verse warned his ex-love they'd "regret it all some day." He managed to woo voters along the campaign trail by continuously yodeling the tune—what he called "shucking the corn." In 1944, he became governor. Let's hope the governor's mansion had room for his horse that he named "Sunshine"!
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Image credit & copyright: Bear Family
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FREEBlues Piano Song CurioFree2 CQ
The only surviving image of a stately Charlie Patton shouldn't dissuade unfamiliar listeners: by all accounts, the "Masked Marvel" was a bonafide 1920s rockstar. Patton, born in April 1891, is hailed as the "Father of the Delta Blues" for his influential role in popularizing the genre of acoustic blues developed in the South (particularly at Dockery Plantation in Mississippi, where Patton grew up). His recording of High Water Everywhere, Part 1 tells the tale of a woebegone man who is down on his luck during the Great Mississippi Flood of 1927. Patton, in his characteristic swagger, hollers and growls through the tune, audibly stomping his feet and changing up his rhythmic strumming patterns with every new line of lyrics. While it might be hard to decipher what Patton is actually saying through crackly 78 RPM records and his heightened drawl, during his heyday, being able to project his voice (without an electric microphone) would have been a feature rather than a drawback for audiences. And if anyone knew how to bring the noise to a hopping party, it was Charlie Patton!
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The only surviving image of a stately Charlie Patton shouldn't dissuade unfamiliar listeners: by all accounts, the "Masked Marvel" was a bonafide 1920s rockstar. Patton, born in April 1891, is hailed as the "Father of the Delta Blues" for his influential role in popularizing the genre of acoustic blues developed in the South (particularly at Dockery Plantation in Mississippi, where Patton grew up). His recording of High Water Everywhere, Part 1 tells the tale of a woebegone man who is down on his luck during the Great Mississippi Flood of 1927. Patton, in his characteristic swagger, hollers and growls through the tune, audibly stomping his feet and changing up his rhythmic strumming patterns with every new line of lyrics. While it might be hard to decipher what Patton is actually saying through crackly 78 RPM records and his heightened drawl, during his heyday, being able to project his voice (without an electric microphone) would have been a feature rather than a drawback for audiences. And if anyone knew how to bring the noise to a hopping party, it was Charlie Patton!
Other streaming options
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FREEMusic Song CurioFree2 CQ
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
The difficult job of getting West Side Story to the stage left little reason for those involved to jump for joy. Inspired by Shakespeare's Romeo and Juliet, writer Arthur Laurents originally imagined a play called East Side Story, with the main feud set between Jewish and Catholic families. News of turf wars in the '50s took the plot to a completely new realm with the Jets and Shark street gangs; together with newcomer Stephen Sondheim writing the lyrics, composer Leonard Bernstein set out to score what some called too ambitious of a musical. In songs like Maria, the actor playing star-crossed lover Tony had to sing incredibly difficult melodies about the woman who became his new obsession—not to mention exercise exceptional dance skills during the rest of the play. It's no wonder West Side Story was hailed as an innovative theater-going experience when it opened in 1957. The perfectionism paid off when the musical earned two Tony Awards that year and the film version took home 10 Oscars in 1961, a record for a musical picture. In celebration of Bernstein's centennial birthday this year, we're listening to one of his greatest accomplishments, and one of the most tragic love stories in musical theater.
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Image credit & copyright: MGM
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
The difficult job of getting West Side Story to the stage left little reason for those involved to jump for joy. Inspired by Shakespeare's Romeo and Juliet, writer Arthur Laurents originally imagined a play called East Side Story, with the main feud set between Jewish and Catholic families. News of turf wars in the '50s took the plot to a completely new realm with the Jets and Shark street gangs; together with newcomer Stephen Sondheim writing the lyrics, composer Leonard Bernstein set out to score what some called too ambitious of a musical. In songs like Maria, the actor playing star-crossed lover Tony had to sing incredibly difficult melodies about the woman who became his new obsession—not to mention exercise exceptional dance skills during the rest of the play. It's no wonder West Side Story was hailed as an innovative theater-going experience when it opened in 1957. The perfectionism paid off when the musical earned two Tony Awards that year and the film version took home 10 Oscars in 1961, a record for a musical picture. In celebration of Bernstein's centennial birthday this year, we're listening to one of his greatest accomplishments, and one of the most tragic love stories in musical theater.
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Image credit & copyright: MGM
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FREEMusic Appreciation Song CurioFree2 CQ
In the '70s, there was nobody cooler than Japanese exploitation film star Meiko Kaji. When she wasn't playing an assassin seeking revenge for her parent's death as Lady Snowblood, she was lending her pipes to tunes like The Flower of Carnage (Shura No Hana in Japanese). At the time, it was common for Japanese film studios like Toho to have their stars record albums to accompany movies, and Kaji's Flower was featured during the end credits to Lady Snowblood. The eponymous character might have been a steely, tragic hero, but Meiko Kaji, the singer, expresses all of the character's doubts and regrets in vocal lines which swoon alongside the string section. It's not all bad though: director Quentin Tarantino was so influenced by Kaji's films during the making of Kill Bill Volume 1, that his inclusion of Flowers of Vengeance on the film's soundtrack renewed interest in Kaji's singing career in the early aughts. For her 73rd birthday this week, we're reminding ourselves how Meiko Kaji slayed all day on set and in the recording studio.
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Image credit & copyright: Syfy
In the '70s, there was nobody cooler than Japanese exploitation film star Meiko Kaji. When she wasn't playing an assassin seeking revenge for her parent's death as Lady Snowblood, she was lending her pipes to tunes like The Flower of Carnage (Shura No Hana in Japanese). At the time, it was common for Japanese film studios like Toho to have their stars record albums to accompany movies, and Kaji's Flower was featured during the end credits to Lady Snowblood. The eponymous character might have been a steely, tragic hero, but Meiko Kaji, the singer, expresses all of the character's doubts and regrets in vocal lines which swoon alongside the string section. It's not all bad though: director Quentin Tarantino was so influenced by Kaji's films during the making of Kill Bill Volume 1, that his inclusion of Flowers of Vengeance on the film's soundtrack renewed interest in Kaji's singing career in the early aughts. For her 73rd birthday this week, we're reminding ourselves how Meiko Kaji slayed all day on set and in the recording studio.
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Image credit & copyright: Syfy
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FREEMusic Appreciation Song CurioFree2 CQ
Although she may be obscure today, Carol Kaye's bass lines were all over pop radio in the '60s. The Los Angeles studio musician played on over 10,000 tracks over two decades, proving The Beat Goes On with her inventive bass playing on the Sonny & Cher track. As Kaye tells it, it was 1967 and she was in one of her many gigs with "the clique," a collective of LA session musicians later renamed the Wrecking Crew by Hal Blaine, when she was given sheet music for The Beat Goes On. Her original contribution had her blandly repeating single notes under the chorus. As she started to get into the groove, Kaye developed the hypnotic three-note bassline that drives the instrumental portion of the song. Becoming an indispensable part of a Sonny & Cher hit might have been enough of a legacy for other musicians, but not for someone with Carol Kaye's talent. A shortlist of her many accomplishments includes Nancy Sinatra's These Boots Are Made for Walkin', the Beach Boys' Good Vibrations, and the Mission: Impossible theme song. For Kaye's 85th birthday celebration this week, we're honoring her musical legacy as one of pop music's most underrated geniuses and hitmakers.
Below: Carol Kaye demonstrates some of her most famous riffs; Sonny and Cher sing The Beat Goes On, a song lead by Kaye's bass riff.
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Image credit & copyright: GAB Archive / Redferns
Although she may be obscure today, Carol Kaye's bass lines were all over pop radio in the '60s. The Los Angeles studio musician played on over 10,000 tracks over two decades, proving The Beat Goes On with her inventive bass playing on the Sonny & Cher track. As Kaye tells it, it was 1967 and she was in one of her many gigs with "the clique," a collective of LA session musicians later renamed the Wrecking Crew by Hal Blaine, when she was given sheet music for The Beat Goes On. Her original contribution had her blandly repeating single notes under the chorus. As she started to get into the groove, Kaye developed the hypnotic three-note bassline that drives the instrumental portion of the song. Becoming an indispensable part of a Sonny & Cher hit might have been enough of a legacy for other musicians, but not for someone with Carol Kaye's talent. A shortlist of her many accomplishments includes Nancy Sinatra's These Boots Are Made for Walkin', the Beach Boys' Good Vibrations, and the Mission: Impossible theme song. For Kaye's 85th birthday celebration this week, we're honoring her musical legacy as one of pop music's most underrated geniuses and hitmakers.
Below: Carol Kaye demonstrates some of her most famous riffs; Sonny and Cher sing The Beat Goes On, a song lead by Kaye's bass riff.
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Image credit & copyright: GAB Archive / Redferns
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FREEMusic Appreciation Song CurioFree2 CQ
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
Music doesn't always age like fine wine—just ask Slim Whitman. Once dubbed "America's Favorite Folk Singer," the tenor falsetto enjoyed sprawling success throughout the '50s, but later became a laughing stock due to his melodramatic TV commercials. Whitman is perhaps best remembered today for his 1952 song, Indian Love Call, which played a pivotal role in Tim Burton's 1996 camp classic, Mars Attacks. After brainy alien invaders have all but crushed human resistance, a granny's headphone jack is jerked loose from a stereo, unleashing Whitman's atmospheric yodels. The aliens' heads explode in response, and the piercing song is quickly weaponized and blared from military vehicles. But in spite of his Martian critics, Whitman's love call spoke to a '50s Cold War America, and reached No. 2 on the country chart. Other notable Whitman accomplishments included playing a key role in the early development of rock n roll, encouraging a teen Elvis Presley at his debut, and deeply influencing Britain's skiffle rockers, like George Harrison and Paul McCartney. In the end, it wasn't Martians that did Whitman in as a joke—it was merely the cruel passage of time... and his bad PR (see below)!
Below: Whitman's Indian Love Call saves the day in Mars Attacks; one of Whitman's jarring TV advertisements.
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Image credit & copyright: Tim Burton / Warner Bros.
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
Music doesn't always age like fine wine—just ask Slim Whitman. Once dubbed "America's Favorite Folk Singer," the tenor falsetto enjoyed sprawling success throughout the '50s, but later became a laughing stock due to his melodramatic TV commercials. Whitman is perhaps best remembered today for his 1952 song, Indian Love Call, which played a pivotal role in Tim Burton's 1996 camp classic, Mars Attacks. After brainy alien invaders have all but crushed human resistance, a granny's headphone jack is jerked loose from a stereo, unleashing Whitman's atmospheric yodels. The aliens' heads explode in response, and the piercing song is quickly weaponized and blared from military vehicles. But in spite of his Martian critics, Whitman's love call spoke to a '50s Cold War America, and reached No. 2 on the country chart. Other notable Whitman accomplishments included playing a key role in the early development of rock n roll, encouraging a teen Elvis Presley at his debut, and deeply influencing Britain's skiffle rockers, like George Harrison and Paul McCartney. In the end, it wasn't Martians that did Whitman in as a joke—it was merely the cruel passage of time... and his bad PR (see below)!
Below: Whitman's Indian Love Call saves the day in Mars Attacks; one of Whitman's jarring TV advertisements.
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Image credit & copyright: Tim Burton / Warner Bros.
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FREEMusic Song CurioFree2 CQ
"Spring is here, the sky is blue!" Thus proclaims Chapel of Love, a charming early pop song that leaves us daydreaming of perfect summer weddings. Created by American songwriting legends Phil Spector, Ellie Greenwich, and Jeff Barry, the tune was originally written for the Ronettes, but was declined due to its young, girlish tone. But that tone was the perfect fit for a new pop trio comprised of sisters Barbara Ann and Rosa Lee Hawkins, and their cousin Joan Marie Johnson. The "girl group" was called the Dixie Cups (it was better than their original name: Little Miss and the Muffets) and Chapel of Love became their first hit. The bouncy tune stuck itself in people's heads, and the Dixie Cups's harmonies evoked the feeling of a small church choir—perfect for a song about weddings. The lighthearted tune ended up appealing to a wider audience than the songwriters had anticipated, from elementary-aged girls to teenagers. The Dixie Cups later recorded other hits, such as Little Bell and You Should Have Seen the Way He Looked at Me, but none would match the popularity of Chapel of Love. Sometimes, you just get it right the first time!
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Image credit & copyright: Sun Records
"Spring is here, the sky is blue!" Thus proclaims Chapel of Love, a charming early pop song that leaves us daydreaming of perfect summer weddings. Created by American songwriting legends Phil Spector, Ellie Greenwich, and Jeff Barry, the tune was originally written for the Ronettes, but was declined due to its young, girlish tone. But that tone was the perfect fit for a new pop trio comprised of sisters Barbara Ann and Rosa Lee Hawkins, and their cousin Joan Marie Johnson. The "girl group" was called the Dixie Cups (it was better than their original name: Little Miss and the Muffets) and Chapel of Love became their first hit. The bouncy tune stuck itself in people's heads, and the Dixie Cups's harmonies evoked the feeling of a small church choir—perfect for a song about weddings. The lighthearted tune ended up appealing to a wider audience than the songwriters had anticipated, from elementary-aged girls to teenagers. The Dixie Cups later recorded other hits, such as Little Bell and You Should Have Seen the Way He Looked at Me, but none would match the popularity of Chapel of Love. Sometimes, you just get it right the first time!
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Image credit & copyright: Sun Records
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FREEUS History Song CurioFree2 CQ
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
One of our country's most patriotic songs, America the Beautiful, also comes from one of its earliest women scholars, Katharine Lee Bates. The Wellesian English professor found her poetic inspiration in an invitation to Colorado. In 1893, after spending her summer lecturing on Chaucer in Colorado Springs, Bates took a trip to Pike's Peak to take in some nature and improve her mood. On the wagon ride down, she caught sight of the huge Rocky mountain range and richly-colored evergreens, among other natural wonders. "All the wonder of America seemed displayed there," Bates later wrote. Her subsequent poem "America" was first published on July 4, 1895, in The Congregationalist. It was originally sung to a number of traditional pieces of music like Auld Lang Syne before finding its permanent home alongside Samuel Augustus Ward's Materna, written in 1882. However, our favorite version takes the meeting of the minds even further with one of the 20th century's greatest soul singers, Ray Charles. Now that's a performance we could blast from sea to shining sea!
Below: a view of Pikes Peak in Colorado, the inspiration for America the Beautiful, and Ray Charles' take on the patriotic tune.
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Image credit & copyright: Cape Cod Wave, Springs Media
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
One of our country's most patriotic songs, America the Beautiful, also comes from one of its earliest women scholars, Katharine Lee Bates. The Wellesian English professor found her poetic inspiration in an invitation to Colorado. In 1893, after spending her summer lecturing on Chaucer in Colorado Springs, Bates took a trip to Pike's Peak to take in some nature and improve her mood. On the wagon ride down, she caught sight of the huge Rocky mountain range and richly-colored evergreens, among other natural wonders. "All the wonder of America seemed displayed there," Bates later wrote. Her subsequent poem "America" was first published on July 4, 1895, in The Congregationalist. It was originally sung to a number of traditional pieces of music like Auld Lang Syne before finding its permanent home alongside Samuel Augustus Ward's Materna, written in 1882. However, our favorite version takes the meeting of the minds even further with one of the 20th century's greatest soul singers, Ray Charles. Now that's a performance we could blast from sea to shining sea!
Below: a view of Pikes Peak in Colorado, the inspiration for America the Beautiful, and Ray Charles' take on the patriotic tune.
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Image credit & copyright: Cape Cod Wave, Springs Media
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FREEMusic Song CurioFree2 CQ
Singer Billie Eilish really likes her tunes shaken, not stirred. The electro-pop artist—who recently won five Grammys—is now setting her sights on one of cinema's most prestigious honors: performing the theme song for a new James Bond film. In No Time to Die, Eilish and her brother/producer Finneas combine the best features of their collaborations with the long-standing musical traditions of Bond theme music. The track begins with a somber piano riff and Eilish's lyrics about a person haunted by the presence of a cruel and enchanting lover. As the music progresses, echoes of Bond film composer John Barry's orchestrations can be heard in the lush strings and reverb-heavy guitar sound. And even though Eilish is known for her introspective lyrics and whisper-like vocals, it sounds like even she couldn't resist a nod to the iconic Goldfinger singer Shirley Bassey in those big, melodramatic choruses. Eilish might be the youngest person to ever perform a Bond theme song, at age 18, but she sure did her homework when it comes to classic '60s British spy film sounds!
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Image credit & copyright: Beat Route
Singer Billie Eilish really likes her tunes shaken, not stirred. The electro-pop artist—who recently won five Grammys—is now setting her sights on one of cinema's most prestigious honors: performing the theme song for a new James Bond film. In No Time to Die, Eilish and her brother/producer Finneas combine the best features of their collaborations with the long-standing musical traditions of Bond theme music. The track begins with a somber piano riff and Eilish's lyrics about a person haunted by the presence of a cruel and enchanting lover. As the music progresses, echoes of Bond film composer John Barry's orchestrations can be heard in the lush strings and reverb-heavy guitar sound. And even though Eilish is known for her introspective lyrics and whisper-like vocals, it sounds like even she couldn't resist a nod to the iconic Goldfinger singer Shirley Bassey in those big, melodramatic choruses. Eilish might be the youngest person to ever perform a Bond theme song, at age 18, but she sure did her homework when it comes to classic '60s British spy film sounds!
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Image credit & copyright: Beat Route
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FREEMusic Song CurioFree2 CQ
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
Before there was Eat It, Amish Paradise, or It's All About the Pentiums, "Weird Al" Yankovic was just another kid in Southern California playing parodies of pop songs on his accordion. But that all changed in the late '70s, when teenage Yankovic's demo tapes caught the ear of radio personality Dr. Demento, who would play some of the singer's tracks on his show of novelty and comedy songs. From there, Yankovic's enthusiastic parodies earned him high praise from radio listeners, but little attention from record companies. Finally, his rockin' solo accordion version of The Knack's My Sharona—originally recorded in a radio station bathroom and entitled My Bologna—caught the ear of Doug Fieger, The Knack's lead singer. Fieger championed the parody, leading Yankovic to land a single on Capitol Records... with no follow-up record. When Yankovic did finally land a deal and released his self-titled debut in 1983, critics felt it belonged in the bin with other quirky novelty records. Now, with four Grammys and millions of records sold—not to mention the proliferation of parody and comedy songs on YouTube that owes a debt to him—it's safe to say Weird Al Yankovic made those critics eat their words!
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Image credit & copyright: Orion Pictures
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
Before there was Eat It, Amish Paradise, or It's All About the Pentiums, "Weird Al" Yankovic was just another kid in Southern California playing parodies of pop songs on his accordion. But that all changed in the late '70s, when teenage Yankovic's demo tapes caught the ear of radio personality Dr. Demento, who would play some of the singer's tracks on his show of novelty and comedy songs. From there, Yankovic's enthusiastic parodies earned him high praise from radio listeners, but little attention from record companies. Finally, his rockin' solo accordion version of The Knack's My Sharona—originally recorded in a radio station bathroom and entitled My Bologna—caught the ear of Doug Fieger, The Knack's lead singer. Fieger championed the parody, leading Yankovic to land a single on Capitol Records... with no follow-up record. When Yankovic did finally land a deal and released his self-titled debut in 1983, critics felt it belonged in the bin with other quirky novelty records. Now, with four Grammys and millions of records sold—not to mention the proliferation of parody and comedy songs on YouTube that owes a debt to him—it's safe to say Weird Al Yankovic made those critics eat their words!
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Image credit & copyright: Orion Pictures
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FREEMusic Appreciation Song CurioFree2 CQ
Everyone's a critic when you're a busker, but not everyone makes magic out of a tough crowd like Tones and I can. Prior to her song Dance Monkey becoming an unlikely #1 hit in 20 countries, Tones could be found singing and playing keyboards on the streets of Byron Bay, a hotspot for Australian street musicians. Even though Tones often spent hours entertaining crowds with ease, Dance Monkey was inspired by a particularly rough night of busking: she told The New York Times that within the span of 30 minutes, various people tried to knock over her keyboards, steal her money, and loudly berate her. Dance Monkey finds Tones reflecting on audiences who cross her personal boundaries, with a plucky piano riff underlying the verses and the chorus' groovin' bass drop, or opening bass notes with heavy emphasis. Judging from the music video and the hedonistic "old Tones" character, Tones and I seems to have made a good song out of a bad situation!
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Image credit & copyright: Tones and I
Everyone's a critic when you're a busker, but not everyone makes magic out of a tough crowd like Tones and I can. Prior to her song Dance Monkey becoming an unlikely #1 hit in 20 countries, Tones could be found singing and playing keyboards on the streets of Byron Bay, a hotspot for Australian street musicians. Even though Tones often spent hours entertaining crowds with ease, Dance Monkey was inspired by a particularly rough night of busking: she told The New York Times that within the span of 30 minutes, various people tried to knock over her keyboards, steal her money, and loudly berate her. Dance Monkey finds Tones reflecting on audiences who cross her personal boundaries, with a plucky piano riff underlying the verses and the chorus' groovin' bass drop, or opening bass notes with heavy emphasis. Judging from the music video and the hedonistic "old Tones" character, Tones and I seems to have made a good song out of a bad situation!
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Image credit & copyright: Tones and I
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FREEMusic Appreciation Song CurioFree2 CQ
It's the centennial celebration of German composer Kurt Weill's birthday today, and what better way to honor the man than with a Curio dedicated to his late hits. His jazz standard September Song comes from the Broadway musical Knickerbocker Holiday, which helped revive his career after his separation from playwright Bertol Brecht (Threepenny Opera). To recapture public interest, in 1938, Weill created a musical based on a satirical book by Washington Irving, the satirical A History of New York (1809). Even though Weill's musical lampoons the American "inability to take orders and hatred of corruption," September Song is orchestrated in earnest, with ebbing and flowing melodies that reflect the amorous desires of the character, Governor Stuyvesant, and his realization that he is aging and has precious little time to devote to the (unwilling) Tina Tienhoven in marriage. In celebration of 100 years of Weill, we're taking another listen to September Song, a tune that stands on its own as a bit wistful, a bit nostalgic, and just a little, dare we say it, romantic.
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Image credit & copyright: Yousuf Karsh
It's the centennial celebration of German composer Kurt Weill's birthday today, and what better way to honor the man than with a Curio dedicated to his late hits. His jazz standard September Song comes from the Broadway musical Knickerbocker Holiday, which helped revive his career after his separation from playwright Bertol Brecht (Threepenny Opera). To recapture public interest, in 1938, Weill created a musical based on a satirical book by Washington Irving, the satirical A History of New York (1809). Even though Weill's musical lampoons the American "inability to take orders and hatred of corruption," September Song is orchestrated in earnest, with ebbing and flowing melodies that reflect the amorous desires of the character, Governor Stuyvesant, and his realization that he is aging and has precious little time to devote to the (unwilling) Tina Tienhoven in marriage. In celebration of 100 years of Weill, we're taking another listen to September Song, a tune that stands on its own as a bit wistful, a bit nostalgic, and just a little, dare we say it, romantic.
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Image credit & copyright: Yousuf Karsh
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FREEJazz Guitar Song CurioFree2 CQ
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
Play us out, Count. The first recording of Count Basie's One O'Clock Jump was released on this day in 1937. It would become a standard for the big band legend. In fact, he closed all of his live sets with it. The title of the track was originally Blue Balls, but the record label understandably changed it to something a little less risqué. Audiences at the time loved the procession of soloists, especially the two tenor saxophonists: Herschel Evans and Lester Young. On stage, the two amicable virtuosos feigned rivalry, trying to outduel each other with each rendition of the song. On this early recording, Evans goes first at 0:44 with a dynamic, herky-jerky chorus; Young comes on at 1:18, starting with a repeated dissonant note before descending through a tasty lick. We're Team Lester, but we'll let you decide your favorite:
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
Play us out, Count. The first recording of Count Basie's One O'Clock Jump was released on this day in 1937. It would become a standard for the big band legend. In fact, he closed all of his live sets with it. The title of the track was originally Blue Balls, but the record label understandably changed it to something a little less risqué. Audiences at the time loved the procession of soloists, especially the two tenor saxophonists: Herschel Evans and Lester Young. On stage, the two amicable virtuosos feigned rivalry, trying to outduel each other with each rendition of the song. On this early recording, Evans goes first at 0:44 with a dynamic, herky-jerky chorus; Young comes on at 1:18, starting with a repeated dissonant note before descending through a tasty lick. We're Team Lester, but we'll let you decide your favorite:
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FREEMusic Appreciation Song CurioFree2 CQ
For Black History Month, we're taking a look at one of the most divine friendships of the Civil Rights era: that of gospel singer Mahalia Jackson and Martin Luther King, Jr. The two met at the National Baptist Convention in 1953, and soon after, Jackson accompanied King to many of his rallies. Perhaps the most moving story of their friendship came during the '63 March on Washington. That day, Jackson performed an a capella (solo voice) version of the gospel standard I've Been Buked, a song that speaks to the suffering and perseverance of those at the march, and to those who protested the cruelties of segregation. Her solemn and mournful tone set the stage for King's I Have a Dream speech, but that isn't where the story ends. King was said to have made several revisions of his famous oration and didn't necessarily intend on speaking about dreams. As King's speech grew more and more inspiring and he went off-script, Jackson, as a confidant of King's, was heard yelling: "Tell them about the dream, Martin!" And the rest, as they say, is history.
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Image credit & copyright: Smithsonian National Museum of African American History and Culture
For Black History Month, we're taking a look at one of the most divine friendships of the Civil Rights era: that of gospel singer Mahalia Jackson and Martin Luther King, Jr. The two met at the National Baptist Convention in 1953, and soon after, Jackson accompanied King to many of his rallies. Perhaps the most moving story of their friendship came during the '63 March on Washington. That day, Jackson performed an a capella (solo voice) version of the gospel standard I've Been Buked, a song that speaks to the suffering and perseverance of those at the march, and to those who protested the cruelties of segregation. Her solemn and mournful tone set the stage for King's I Have a Dream speech, but that isn't where the story ends. King was said to have made several revisions of his famous oration and didn't necessarily intend on speaking about dreams. As King's speech grew more and more inspiring and he went off-script, Jackson, as a confidant of King's, was heard yelling: "Tell them about the dream, Martin!" And the rest, as they say, is history.
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Image credit & copyright: Smithsonian National Museum of African American History and Culture
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FREEMusic Appreciation Song CurioFree2 CQ
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
When Beyoncé drops an album, the world listens. The Lion King: The Gift, a record inspired by African music and musicians. It includes collaborations with prominent U.S. artists like Childish Gambino (Don Glover, who voices Simba to Beyoncé's Nala in the live-action Lion King), Kendrick Lamar, and Jay-Z, as well as musicians like Guyanese-American Saint Jhn and Nigeria's Wizkid, who sing on Brown Skin Girl, an afrobeat ode to black girls. Wizkid has collaborated with Drake before, and many of the African artists on The Gift have been featured on tracks by hip-hop artists—though an entire album both dedicated to their work and curated by the world's biggest pop star has certainly put the global spotlight on afrobeat. The genre itself is a mash-up of West African music and bits of funk and jazz influences, making The Gift a perfect melding of African diaspora music, wherever it is made. Lucky for us listeners, the results on songs like Brown Skin Girl incorporate uplifting melodies with complex rhythmic structures. And hey, it doesn't hurt that Beyoncé's own child Blue Ivy joins in on the opening chant of the chorus!
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Image credit & copyright: Disney
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
When Beyoncé drops an album, the world listens. The Lion King: The Gift, a record inspired by African music and musicians. It includes collaborations with prominent U.S. artists like Childish Gambino (Don Glover, who voices Simba to Beyoncé's Nala in the live-action Lion King), Kendrick Lamar, and Jay-Z, as well as musicians like Guyanese-American Saint Jhn and Nigeria's Wizkid, who sing on Brown Skin Girl, an afrobeat ode to black girls. Wizkid has collaborated with Drake before, and many of the African artists on The Gift have been featured on tracks by hip-hop artists—though an entire album both dedicated to their work and curated by the world's biggest pop star has certainly put the global spotlight on afrobeat. The genre itself is a mash-up of West African music and bits of funk and jazz influences, making The Gift a perfect melding of African diaspora music, wherever it is made. Lucky for us listeners, the results on songs like Brown Skin Girl incorporate uplifting melodies with complex rhythmic structures. And hey, it doesn't hurt that Beyoncé's own child Blue Ivy joins in on the opening chant of the chorus!
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Image credit & copyright: Disney
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FREEMusic Song CurioFree2 CQ
Turns out modern pop stars weren't the first to tell audiences to throw their hands up in the air like they just don't care. That sentiment has been around since at least 1980, when The Sugarhill Gang released their first album, which included their biggest hit, Rapper's Delight. Even those unfamiliar with hip-hop are likely to have heard the ubiquitous song which not only asks listeners to throw up their hands, but to "hip a hop" and not stop. Add in The Sugarhill Gang's lighthearted, funky rapping, with lyrics clearly meant to help people party, and the song couldn't help but become a hit. In fact, Rapper's Delight was hip-hop's very first Top 40 hit, largely thanks to Sugarhill Records Co-founder and Producer, Sylvia Robinson. She was the one who first heard rap music being played in underground parties, and believed it could make for successful radio hits. She arranged the recording session that led to Rapper's Delight, in which studio musicians repeated instrumental bars from the disco band Chic's Good Times (similar to how DJs would sample bits of music) while The Sugarhill Gang's vocalists traded raps. Talk about incredible musical instincts!
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Image credit & copyright: Sugar Hill Records, LTD
Turns out modern pop stars weren't the first to tell audiences to throw their hands up in the air like they just don't care. That sentiment has been around since at least 1980, when The Sugarhill Gang released their first album, which included their biggest hit, Rapper's Delight. Even those unfamiliar with hip-hop are likely to have heard the ubiquitous song which not only asks listeners to throw up their hands, but to "hip a hop" and not stop. Add in The Sugarhill Gang's lighthearted, funky rapping, with lyrics clearly meant to help people party, and the song couldn't help but become a hit. In fact, Rapper's Delight was hip-hop's very first Top 40 hit, largely thanks to Sugarhill Records Co-founder and Producer, Sylvia Robinson. She was the one who first heard rap music being played in underground parties, and believed it could make for successful radio hits. She arranged the recording session that led to Rapper's Delight, in which studio musicians repeated instrumental bars from the disco band Chic's Good Times (similar to how DJs would sample bits of music) while The Sugarhill Gang's vocalists traded raps. Talk about incredible musical instincts!
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Image credit & copyright: Sugar Hill Records, LTD
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FREEMusic Appreciation Song CurioFree2 CQ
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
When '60s folk singer Donovan played on the pop TV program Ready Steady Go!, he found the love of his life, Linda Lawrence, go-go dancing in the audience. Donovan pursued her avidly, but Linda spurned him out of fear of the limelight, so he penned Sunshine Superman as an ode to his sweetie. With help from arranger John Cameron and a crew of studio jazz artists, Donovan interlaced lovelorn lyrics with the feverish traces of his latest explorations with LSD and meditation. In four-four time, played in C Major with a guitar capoed at the first fret, a puttering baseline opens to a sprightly harpsichord, and Donovan sings with the certainty of a time-traveler to his Linda that: "It'll take time, I know it, but in a while / You're gonna be mine, I know it / We'll do it in style." In the end, Donovan was right. Four years later, friends of the two set them up at a party at Eric Clapton's, and they married just weeks later and are still together today. Though, Donovan asserts that Sunshine Superman isn't just about Linda, but also "the invisible fourth dimension of transcendental superconscious vision." Far out, man.
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Image credit & copyright: Sony Legacy
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
When '60s folk singer Donovan played on the pop TV program Ready Steady Go!, he found the love of his life, Linda Lawrence, go-go dancing in the audience. Donovan pursued her avidly, but Linda spurned him out of fear of the limelight, so he penned Sunshine Superman as an ode to his sweetie. With help from arranger John Cameron and a crew of studio jazz artists, Donovan interlaced lovelorn lyrics with the feverish traces of his latest explorations with LSD and meditation. In four-four time, played in C Major with a guitar capoed at the first fret, a puttering baseline opens to a sprightly harpsichord, and Donovan sings with the certainty of a time-traveler to his Linda that: "It'll take time, I know it, but in a while / You're gonna be mine, I know it / We'll do it in style." In the end, Donovan was right. Four years later, friends of the two set them up at a party at Eric Clapton's, and they married just weeks later and are still together today. Though, Donovan asserts that Sunshine Superman isn't just about Linda, but also "the invisible fourth dimension of transcendental superconscious vision." Far out, man.
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Image credit & copyright: Sony Legacy
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FREEMusic Appreciation Song CurioFree2 CQ
In the early '90s, the only thing bigger than M.C. Hammer's hit U Can't Touch This was his parachute pants. The standout track from the album Please Hammer, Don't Hurt 'Em—which was released 30 years ago this week—saw the Oakland, California-born hip-hop artist take the world by storm with the most impressive dance moves this side of Michael Jackson's moonwalk. It's easy to forget just how great U Can't Touch This was for its time. Producers Felton Pilate and James Earley hammered down the funky bass sample, taken from Rick James' Super Freak, while on a tour bus. In total Please Hammer cost a total of $10,000 to make and was certified diamond in the U.S. with over 10 million copies sold. Hammer is even credited with making rap a mainstream music genre as U Can't Touch This broke down racial barriers during primetime MTV hours. Now that's something worth celebrating with a pair of "Hammerpants" and some fly moves!
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Image credit & copyright: Life and Style Magazine
In the early '90s, the only thing bigger than M.C. Hammer's hit U Can't Touch This was his parachute pants. The standout track from the album Please Hammer, Don't Hurt 'Em—which was released 30 years ago this week—saw the Oakland, California-born hip-hop artist take the world by storm with the most impressive dance moves this side of Michael Jackson's moonwalk. It's easy to forget just how great U Can't Touch This was for its time. Producers Felton Pilate and James Earley hammered down the funky bass sample, taken from Rick James' Super Freak, while on a tour bus. In total Please Hammer cost a total of $10,000 to make and was certified diamond in the U.S. with over 10 million copies sold. Hammer is even credited with making rap a mainstream music genre as U Can't Touch This broke down racial barriers during primetime MTV hours. Now that's something worth celebrating with a pair of "Hammerpants" and some fly moves!
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Image credit & copyright: Life and Style Magazine
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FREEMusic Appreciation Song CurioFree2 CQ
Four-piece rock bands aren't generally known for their sophisticated musicality, but then again, most of them don't have a Ray Manzarek in their midst. The late keyboardist (pictured second from the right) would have turned 75 today, and was a jazz musician with eclectic skills prior to forming the now legendary '60s band, The Doors. From the release of their early hit Light My Fire, Manzarek's unusual role in the rock band was evident: with his left hand, he repeats three-note figures in the low range, filling out a role traditionally taken by a bass player. With his right hand, he alternates among arpeggios over the opening key changes, rhythmic chords beneath the verse, and psychedelic solos as the long instrumental section grows in intensity. When Manzarek spoke of Light My Fire, he referenced how he drew from J. S. Bach and John Coltrane in his performance. We wouldn't be surprised to hear that scores of rock 'n' rollers were just as influenced by his stand-out work with The Doors!
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Image credit & copyright: Guy Webster
Four-piece rock bands aren't generally known for their sophisticated musicality, but then again, most of them don't have a Ray Manzarek in their midst. The late keyboardist (pictured second from the right) would have turned 75 today, and was a jazz musician with eclectic skills prior to forming the now legendary '60s band, The Doors. From the release of their early hit Light My Fire, Manzarek's unusual role in the rock band was evident: with his left hand, he repeats three-note figures in the low range, filling out a role traditionally taken by a bass player. With his right hand, he alternates among arpeggios over the opening key changes, rhythmic chords beneath the verse, and psychedelic solos as the long instrumental section grows in intensity. When Manzarek spoke of Light My Fire, he referenced how he drew from J. S. Bach and John Coltrane in his performance. We wouldn't be surprised to hear that scores of rock 'n' rollers were just as influenced by his stand-out work with The Doors!
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Image credit & copyright: Guy Webster
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FREEMusic Appreciation Song CurioFree2 CQ
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
For some, Aram Khachaturian's Sabre Dance is either the soundtrack to cartoon hijinx or novelty act plate spinners on The Ed Sullivan Show. For others, it's still a rather joyful piece from his 1942 ballet Gayane, which tells the story of the eponymous Armenian village beauty who falls in love with Armen but is kidnapped by the jealous Giko. When Gayane is rescued by Armen, their love is celebrated at their wedding ceremony with village dancers, including the swordsmen of the Sabre Dance. Like many of his Moscow Conservatory contemporaries, Khachaturian incorporated folk songs from his homeland into Sabre Dance (notably where the string instruments take the lead from the xylophone), but unlike them, his work also included unusual orchestral instruments like the saxophone. Proving classical music isn't just for cartoons and stuffy concert halls, Sabre Dance actually landed at #1 on the Billboard charts three times in 1948, a year when three different versions of the tune became jukebox hits!
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Image credit & copyright: Andante Moderato
It's Flashback Friday! Enjoy this favorite from the Curio Cabinet archives.
For some, Aram Khachaturian's Sabre Dance is either the soundtrack to cartoon hijinx or novelty act plate spinners on The Ed Sullivan Show. For others, it's still a rather joyful piece from his 1942 ballet Gayane, which tells the story of the eponymous Armenian village beauty who falls in love with Armen but is kidnapped by the jealous Giko. When Gayane is rescued by Armen, their love is celebrated at their wedding ceremony with village dancers, including the swordsmen of the Sabre Dance. Like many of his Moscow Conservatory contemporaries, Khachaturian incorporated folk songs from his homeland into Sabre Dance (notably where the string instruments take the lead from the xylophone), but unlike them, his work also included unusual orchestral instruments like the saxophone. Proving classical music isn't just for cartoons and stuffy concert halls, Sabre Dance actually landed at #1 on the Billboard charts three times in 1948, a year when three different versions of the tune became jukebox hits!
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Image credit & copyright: Andante Moderato