Spotify?

That app is free on desktops. It would obviate the mailing of disks.

Old Freud: The Complete Comments

OLD FREUD

Old songs. In thinking about age and mortality, these songs remain older. We all may know all or at least most of these songs. Songs that I have loved, but never considered as much as songs by my favorite artists form generally the same time period, songs forming the basis for music that we continue to love today. Basically, Freud was a painter who painted the old man on the cover. Like the old men sitting around naked on the benches in the locker room. Gravity is a constant. He is old, as are the songs.

These songs have been selected for their significance to me personally, their variety in style, and their staying power.


1. “Dizzy” by Tommy Roe

“Dizzy” was a hit released as a single in 1969 and was written by Tommy Roe and Freddy Weller. The song reached number one and is considered “bubblegum” or “bubblegum pop.” But as with most labels — whatever, bubblegum seems to have a negative connotation, light, friffy, fluff without substance, but anything with a label can suck eggs. So, bubblegum or not, “Dizzy” is my favorite Tommy Roe song.

I’ll tell you what “bubblegum pop” is. It’s the music that I was exposed to while sitting in the back of Dan’s station wagon. I remember so many trips, sitting in the back, Dan and Sharon in the front, Dan CHEWING GUM while tuning in the oldies. Neil Sedaka, Tommy Roe – these were the heroes of those days and by Dan’s chewing of gum alone is this genre possibly known as “bubblegum pop.” Dan dug deeper into understanding such artists and it is he who I credit for my own deeper appreciation of Roe and his cousins. It was the 90’s, we were in a wagon from the 80’s, we were born in the 70’s, the music was strangely and differently from the 60’s, somehow I was Dan and Sharon’s child, sitting in the back, father Dan with his gum and his gloves and his ear ever-fixed on the music, he kept us warm and safe in the cold of the Minneapolis winter. Do you remember the Holiday gas station on Central, the wagon, Sharon, the gum, the gas, the gloves, Sedaka and Roe, the cold?? It may be 2009, but it sure seems like 2000. That was “BUBBLEGUM POP” and it was warm and inviting, like Sedaka in a hot shower.

Back to Tommy Roe: he was born in Atlanta and moved to England for a few years and his song “Dizzy” was sampled on De La Soul’s Three Feet High and Rising, which, interestingly enough, I heard Steve Cummings positively critique; I owned the album on cassette tape. It might be worth to note that Steve Cummings was the business manager of summer camp, as Dan was the waterfront director, as Cory and I worked in the Ecology area. I can still hear an echo of that conversation, Dan discussing the title of the album as it invoked memories of road trips with his father, and Steve digging that one of the members of De La Soul listed ketchup as his favorite food. My question, Steve, was it the use of the Tommy Roe sample that especially drew you to the album?

A compliment to Dan, but a need for a preface so that it makes sense: in the Star Trek episode, “The Enemy Within,” Kirk is split into two halves. The bad part and the good part. Well, if it happened to Dan, the good part could have penned “Dizzy” – meaning that the song’s melodic strength and arrangement, as well as other like artists, is a skill that Dan also possesses and if he suffered a transporter accident, this kind of music would have been the result. As it is, Dan usually has more of an edge and often expands beyond Roe-like arrangements.

Awesome things to listen for: echo on drums, EXCELLENT vocal recording, at about 31-32 seconds listen for the gurgly wah guitar – something 44 might have produced, superb harmonies and strings, gotta love the use of “whirlpool,” and especially “fellas,” the added guitars and toms at the end, and the strings @ 1:44 as an example of 1960’s sonics at their best.

The song could be from a vinyl record’s point of view. The girl keeps playing the music, causing the entity (the record) to get dizzy, but it’s a party and so there are all these “fellas” hanging around, interfering with his opportunity, so all he can do is go round and round, his head spinning, dizzy and never able to put on his moves. As the record is pulled out of the sleeve it falls immediately in love with his liberator. It can only speak by being played, the girl loves it so much, and she holds it close because it is dear to her heart.

Dizzy is a tight, perfect little ass of a song.


2. “Green Tambourine” by The Lemon Pipers

The song is often considered a sample of “psychedelic pop” or again with the “bubblegum” – it was released in 1967, reaching number one in 1968.

An interesting story. I’ll briefly summarize. First, I must confess (I wanna get undressed) – I thought they were British!! But no, they are from Ohio except for the bass player who is from New Zealand. Once they found their New Zealand bass player, they were good to go. They were a college band playing rock and blues in Cincinnati until they were “picked up” by a major New York label. Dan will understand the casual use of “picked up” – it’s just what happens, like a pastor receiving his or her “call.” So, off to New York they go. Anyway, producer and songwriter Paul Leka, along with his partner Shelley Pinz, wrote a song capitalizing on the psychedelic vibe of the time, and as a condition of the contract, The Lemon Pipers had to record it. “Green Tambourine” was recorded and released on an album of the same name.

Though the band enjoyed their bit of success, despite what they would say in subsequent years, there was a depressing side. They could never reconcile their Cincy blues scene with the seemingly manufactured British psychedelic pop of a New York producer’s design. The song is often criticized for not having a lot of substance and the band would only release one more album until disbanding in 1969. The drummer died in 1999, but the other members continue music-related careers – just not in the pop spotlight.

I make a pretty firm distinction between songs like “Dizzy” and a song like “Green Tambourine.” Songs like “Dizzy,” as I have mentioned, were introduced to me by Dan and involve a more direct connection to the artists themselves while songs like “Green Tambourine” have been familiar to me since my beginning, songs I’ve always loved, attracted by the production – they attempted to sound like elements used by the greats (Beatles, Donovan, Hendrix, Doors, Who).

Green Tambourine pulled out all the tricks with fortunate results. Everything was in line, including the planets, this song is GREAT! Inspires good feelings, it is by chance that the song is as good as it is. The attempts by the producers combined with the reluctant embrace by the band. Despite the band’s later musings, they enjoyed to the max the success that the song brought them, including several cheesy TV appearances available via YouTube.

Poor man asking for money and in return, he will play songs on the tambourine. The tambourine is the collection plate for the money. Pop music exists because of the money offered up by consumers – is this the dream of the poor man, his chance – retail ru (i) ns civilization.

The song makes me feel GOOD!!!! I love the sparkly sitar, percussion, love the string decent, British vocal approach, “help a poor man fulfill a dream,” “reflections,” heart drum, love strings at about 1:03, love the string change around 1:27 – great arrangement – superb, they embody the elements of more substantial forms of music for which it was critiqued, wild drum ending, echoes and effects – pulled out all the tricks, but again, with fortunate results.

The “music machine” continues and this will not be the last song about tambourines to be recorded.

This is one of my favorite grocery store songs – see more about this below.


3. “Speedo” by The Cadillacs

A 1955 rock’n’roll and doo wop hit from Harlem. Earl Carroll was the lead singer, hence the lyric, Speedo was his real life nick name (given to him affectionately by children at a school where he was a janitor) – he later joined The Coasters, and then reformed The Cadillacs. The style and execution of this musical form is WONDERFUL.

I do love this song. It is a surprisingly recent discovery for me, since about 2004. Especially odd since it is one of my father’s favorites. Whenever he had a great deal going on he would refer to “the helicopters coming out.” I think he got it from the movie Good Fellas, from which “Speedo” is famously featured. The helicopters represent another level of stress or pressure, an added chore to complete or errand to run – for instance, to the grocery store.

Speaking of going to the grocery store – there is something to that. I know that everyone has mentioned a trip or trips to Baesler’s, local grocery store, when discussing a visit to see me. I just want to talk about that for a moment because it is interesting. I am not saying that moments spent together in a grocery store eclipse those of other moments spent together, but there is an equation. It is a time spent together out in society. Deciding together, planning or lack of planning, spontaneous interaction with others of our kind – it is a mission of sorts, including a ride in the car, music, traffic, and weather, or our collective exposure to the elements. The clothes we wear to survive the elements. Without the clothes, we cannot survive out there. If naked, we die. Together we will make sure we wear something. Together we help each other survive. By “getting” and “gathering” food we are doing what humans have always done. It may be the 2000s, but our tribe does the same sorts of things – together we survive and interact with the elements. It may be strange. It may not on the surface be “the thing to do,” but if you search your memories have not the trips we made together for food been some of the most memorable? I will admit here and now that they are for me. And not only for those that come to see me – I remember excellent memories going with Mixdorf to get Blueberry Beer, or with Dan to Cub Foods to get donuts, or with Cory to get cheesecake – whatever and whenever – that is just the superficial tip of the iceberg in terms of the depth of importance and significance to my life that such moments have had for me and my connection to my friends. A whole new post/discussion concerning grocery-store memory friendship bonding experience may be worth the time and thought. The discussions during such fleeting moments represent life itself. When we are at the store we are living. We are out there. We are in it. We are the ones living. Others will see us and wish, “boy I wish I was with a friend eyeing Little Debbie.” This warrants additional exploration and it is bigger than this paragraph. Feel free to make fun if you like, but the next time I am in town or if you are in Terre Haute and we are headed to the Baesler’s, please know how important the experience is – indulge me, know that a refusal to go to the Baesler’s leads to a broken heart and a sapping of my soul.

Another great thing about this song and many of the songs on this compilation is that they can be heard at Baesler’s. They play some kind of oldies station (a possible title for the compilation – Its Baesler’s Baby) and even pipe it out to where you can get gas. Now that is truly experiencing life. Gas, “Speedo,” AND a friend, oh my.

AMAZING AMAZING AMAZING vocal performance, the harmony, so clear with wonderful texture, wonderful hums after each phrase, the song really moves – drums and bass, almost can’t believe this was recorded in the fifties – sounds better than stuff today…some 60s engineering fell off a bit in terms of recording quality as evidenced by this fine recording.

Another feel good song and definite stress reliever, even if the helicopters are out. A great coping song.


4. “Working in the Coalmine” by Lee Dorsey

Born in New Orleans, Lee Dorsey was a boxer called Kid Chocolate; he worked in an auto shop during the day and sang at night. “Working in the Coalmine” was written by Allen Toussaint and released by Lee Dorsey in 1966.

I love the anvil sounds – spectacular vocal and harmony arrangement, Lee Dorsey’s voice and horn summations really emote what the words are attempting to convey, excellent arrangement, gotta love the “Lord I’m so tired, how long can this go on.” Molly loves this song and we have attempted our own version. Great horns, great recording of horns, which can so often be messed up and poorly utilized.

Great song, the first in a two in a row of “the working man’s plight” – though “Speedo” does to a lesser, less overt degree.

This song says it all.


5. “Get a Job” by The Silhouettes

Released in 1957, it was a hit in 1958. Sha Na Na took the name from the lyric. The song was written by Richard Lewis, Bill Horton, Earl Beal, and Raymond Edwards – the group members.

It is the oldest sounding recording and of the poorest quality on this compilation, but….what a blast! Listen to the percussive piano – almost can’t hear it without headphones, classic beginning (dip dip dip dip or yap yap) - all that is great about doo wop.

The lead vocal rolls in at 19 seconds like some kind of crazy instrument – part flute, horn, and percussion! (What a voice!). I love the melody at 49 seconds, lending to the song’s strong melodic form – GREAT harmonies, and come on “GET A JOB” – great, and in the fifties! A classically typical break at 1:30 with keys and sax supplies the cherry.

The ultimate necessary evil? The ultimate nag? Perhaps.
Both “Get a Job” and “Working in a Coalmine” are blues songs done in different styles. Both songs are fantastic! Both songs would make old Freud proud.


6. “My Boy Lollipop” by Millie Small

Millicent Small was born in Jamaica. “My Boy Lollipop” was a big hit in 1964. The song was written by Morris Levy. Barbie Gaye recorded it first but her version pales when compared to Millie’s. The song is a step in the evolution of Jamaican music, residing somewhere between bluebeat and ska (most will call it ska) and on its way to reggae pop (evolutionarily speaking). “My Boy Lollipop” was the first major hit for Island Records, for those of you who run in U2 circles.

Oh man – the voice – how perfect, how cute, a lineup of cosmic forces, sweetness and cuteness, coming together and uniting the Western Hemisphere through human male fantasy. There was a time in the 1950s when the Western Hemisphere was about to split into the “Right” lobe and the “Left” lobe, potentially fracturing any chance, ever, of global peace. Eisenhower felt that is was crucial that any hope for a global peace rested in securing peace in the Western Hemisphere first. He initiated “Ikehunt” in an effort to capture and then market an entertainer of Western Hemisphere origins who could charm and secure an everlasting peace. Eisenhower’s term came and went without the successful execution of “Ikehunt.” Kennedy, in an effort to honor his predecessor, not only vowed to go to the moon, but also to fulfill Eisenhower’s dream for Western Hemisphere peace. He developed a task force that sent “investigators” to Canada, the West Indies, and South America. Kennedy proudly presented the fruit of “Ikehunt” when he exclaimed to the Western Hemisphere: “I, your president, of these United States, present to you, The Effervescent Millicent!” JFK later admitted that had she not been found the situation with Cuba could have reignited if not for the bouncy lulling of Millie’s song.

I love the “but I don’t want you to know,” like the girl who rolls her hand up her smooth and tanned leg while purring to you – knowing you are looking, leaving you debilitated, incapacitated, warm, and peacefully tired. Is it a dirty song? Is it the innocence? Ask Freud.

Interesting use of harmonica, so bouncy and happy in that 60s, ska kind of way. What a fantastically exotic voice, especially for Midwesterners of the mid-sixties! A very very happy song from what I like to envision as a very very happy time.


http://www.youtube.com/watch?v=ZCUcbRTB6Rs




******THE THING ABOUT THE NEXT TWO SONGS ******

A time it was. Dan and I. Augsburg Fortress. All about the infrastructure. And friendship… Our main concern was our morning break. Making our way through the skyway like two cadets on the enterprise. To sit in the sun at Bixby’s café. Poetry guy with the teeth and tongue stud selling us his brew and stories. Coffee steaming, bagel beckoning. Newspaper ready. We would talk. Bond. Jam. Wonder. Hope. Believe. We spent our money and found our seats. We did our picks and made our plans. And then . . . on a daily basis, the following two songs would mingle with the sunlight, creating not just a memory, but life. The guitar opening to “Sleepwalk” gently giving us pause, these were our songs. We’d hold hands as we continued to guess the betting line for next Sunday’s NFL football games or that night’s NBA basketball games. Conversation would shift from Star Trek to sports to music as suddenly as the birthing of mice. This was part of our music education. Listening to these songs, drinking coffee, hoping for hope for our dreams to deliver.

These two songs were very much a part of the Bixby’s experience, a saintly venture framing the Augsburg Fortress days. There was coffee in the air, and it was good.


7. “Sleepwalk” by Santo and Johnny

Italian-American Rock & Roll brothers from Brooklyn. They wrote the song, and in fact had lyrics for the song as well, but the song remained an instrumental, released in 1959.

The guitar at six seconds is perhaps the most beautiful use of the steel guitar in the history of the instrument. As I think back I always think – surely there must be strings and lush orchestration, but alas ---there is not, I guess memories always have strings. The ending is absolutely beautiful.


8. “Laugh, Laugh” by The Beau Brummels

Beau Brummel was a 19th century English person who was very much into fashion. The Beau Brummels were an American band that was heavily influenced by the British bands. “Laugh, Laugh” was released as a single in 1964 from the album titled, Introducing the Beau Brummels, released in April of 1965. Where The Lemon Pipers had producers forcing them to give up the blues to assume British attributes for the sole reason of selling records, The Beau Brummels were artists unto themselves who looked to British Bands as a source of inspiration. Less flashy, more folksy. The song is structured much like “Things We Said Today,” by the Beatles but already into some Rubber Soul folksy content, possibly because of Dylan, but retaining a very folk – pop identity.

Ooh - listen to the stereo effects. I love the guitars – excellent – especially the little reinforcements. I LOVE LOVE the “lonelys” that are first heard around 54 seconds – LOVE IT! I also love the harmonica. I am often rough on that instrument’s use, but they use it right. Also listen at 1:37 for some muttering – you can hear it here and there, “Before I Go.” The song always involves the listener, especially as he pleads with the listener. The harmonies are interestingly paced. I do not know if I have ever heard anything else by this band.


9. “Reflections” by Diana Ross & The Supremes

Are we in the cold of space? No, just in the warm vocal embrace of one Diana Ross; The Supremes with space effects and just in time for Season 2 of Star Trek. The song was released in July of the “Summer of Love” (1967), aka the summer between Seasons 1 and 2 of Star Trek. It was written by Holland-Dozier-Holland and all the instruments were played by The Funk Brothers. This would be the first single released by Diana Ross & The Supremes, as opposed to simply, The Supremes. It was released shortly before Florence Ballard was fired from the group.

Her voice, Motown, the drumming, her silky quality, all contribute to this masterpiece of psychedelic soul music. I love how in half a minute the song ramps up with the beat slamming on all four beats. The wild background vocals are otherworldly and slightly scary – especially with the accents on “loving you” near the end.

Listen to her “ah” for “I” at 1:12 – my god – almost yanks the tears right out of my eyes. The strings trip around interestingly at 1:30 and I LOVE their power at 1:45 as it spills back into a verse, the strings are amazingly innovative throughout.

An amazing song that I have heard so many times that I almost was not able to appreciate its many beautiful intricacies and nuances; I wonder how much of Motown I have yet to fully appreciate.


10. “Good Vibrations” by The Beach Boys

This band was almost too big to include. However, my neglect qualified them for inclusion. “Good Vibrations” was their third number one hit. It was released as a single in 1966, close to the release of Pet Sounds — kind of like the relationship between “Strawberry Fields Forever” and Sgt. Pepper. The music for “Good Vibrations” was written by Brian Wilson and the lyrics were written by Brian Wilson and Mike Love.

First, the vocals are insanely amazing, what was going on here was incredibly unique and I am not sure if it has yet been matched within the context of a pop song running less than 4 minutes – under four minutes!, this song is as a symphony. I will not examine too closely the many fantastic vocal performances, sounds, ideas, and harmonies at work here, there is too much to admire and enjoy: the mastery, the great opening line, I love the “sound” (an electro-theremin) and the sound and use of the cello, the “excitations,” damn Sunkist.

I love the “I’m picking up,” the idea of giving off and picking up vibes pours into pop culture. The changes beginning at 1:41, dramatic, how will it change and then whoa… at two minutes, one of my all time favorite lines, “I don’t know where but she sends me there.”

The vocals are soaring, and then 2:14 just starts up almost instantly in a state of fading, like a day’s sun fading into a fire at night, and yes – can you feel the beach? – where was Enya to do the “aahh” at 2:54? And just when you think the song might be over and the adventuresome vocals completed, they throw in the next little treasures that they dug up on the shores of Huntington Beach, at around 3:13, listen to the bass tones supporting the vocals and of course the sound of the vibration itself, connecting us all to Wilson’s brain waves and the nature of the universe Unfortunately this version does have a crappy fadeout, or was this intentionally done to represent the impossibility of an all powerful connection between people and the reason world peace continues to prove so incredibly difficult and possibly impossible?

The Summit

ok ok....this has probably been driving the Clog up the wall, me not getting around to posting this.

Indeed, in advance of the Global Financial Summit, The Statesman arrived in Minneapolis MN for a CMC Summit on Friday, November 7.

A pitcher of (CMC) Summit Extra Pale Ale, was consumed.

Here's where we stand:

About a year ago, we made a consensus decision to not put the collective thumb-screws in, and get off the original "one CD a month" mission, in order to accomodate our various members' busy lives and collective desire for less stressful lives.

The result, as we all know, has been as successful as it would be if Mixdorf just poured an entire bag of dog food on the floor so Primus wouldn't need to be stressed out about a regular feeding schedule.

T-Clog & I, with very little debate or difficulty, arrived at a very possible working solution to keep this thing going so that a crucial aspect of this endeavor, critical to its survival, is addressed:

How can we make the prospect of commenting on a CD enjoyable and not a dreaded pain-in-the-ass?

Others can chime in, but the way I see it - this is the real boner of the whole thing. We all like to listen to the new CD. We may even enjoy the act of sitting at the computer to hammer out specific responses to specific songs. But - gosh - the act of setting aside an evening to do it! That's what makes weeks strech magically into months.

And so....in a near complete reversal from a position I've put forth in this venue not two years ago...here's the proposition:

1. CD Creator (the Creator-Kirk) sends out the CDs and posts initial comments.
2. Responses are simply done in the "comments" section of the initial post. Period.

There is no obligation to comment on every song, or even any need to wait, necessarily, for everyone to respond. The next Creator-Kirk in line simply waits for the discussion to trickle down a bit and - or - whenever he/she (but, in reality, only "he") feels it's time, then sends out the next volume.

What does everyone think? This is just the result of a Summit of a couple of us, I realize. T-Clog would have agreed to just about anything to kick-start the CD-sending once again. And, for me, creating the CDs has never been the issue. I have a potential backlog of seven or eight volumes I'm excited to send out. I may be only speaking for myself, insofar as it's always been the commenting that's bogged me down.

Thoughts?

Also - as a side note - if we do go forward under the ground rules laid out by this Summit, it might be only fair to invite Aaron back in. He was a good and valuable (and founding) member of the CMC; and his involvement actually ended over pretty much this very issue that's currently tearing us apart. His Project 365 was last updated on April 8, so it's tough knowing whether he'd be interested in committing to going forward, even under this New, much less demanding, World Order. But I think it would be good to let him know and open up the welcoming arms.

The CMC Summit

A CMC Summit was held at the Eagle's Nest in November. Summit beer and cheese pizza was consumed as we discussed pressing issues. Dan will be the keynote speaker about what took place, but I just wanted to let everyone know that some changes will take place.

Volume 19 - A note

The last song necessary for volume 19 was acquired today. Soon it shall be yours as well.

Mighty Tom’s Spin on Ye Olde Round Sound

Opening

I must at least acknowledge that it has indeed been a long time. But I will always apply the same “program” to each of these offerings, never “shorting” the effort that the compiler puts forth. That said, I am pleased to have completed my Round Sound experience.

It was great. I loved the cover – really outstanding – I am almost always in need of such an expression. Intrigued, as always, by the songs within. One of the many strengths inherent to CMC is the infinite combinations that are available to the club. Rich learning, remembering, discovering, and contemplating are as available as a shaker of salt – just need to grab and add. Thank you in advance for putting together another installment for the CMC. The pleasure is mutual, except when it comes to your cover – then I am afraid it is all mine.

And now . . . the songs-------

1. “I’m Not in Love” by 10cc

Oh - Eric Carmen is who sings ‘All By Myself!’

A good choice to introduce your listeners to what the round sound is - the electric piano is a key component as well as the smooth and groovy production. This band, emasculated by its very name (cc is a small amount compared to what you drink in a glass of beer in a truck with your dog), is an interesting combination of musicians. The name is a scientifically calibrated measurement that reduces it to the amount in a syringe. “Buckets of Load” was the name of the band that would have kicked this band’s ass.

It seems amazing to come up with and record a song such as this. There is an artistic weird, which I quite enjoy, embodied at times by my favorite bands, and then there is genuinely weird, such as 10cc.

This is one of those songs that I recognize as hearing, but not listening to. Hearing as a basic function of the human sense – if it is on and I am in range I cannot help, but to hear it; however, its inclusion “here” has allowed me an opportunity to LISTEN to it. Interesting to LISTEN to a song which I have heard here and there throughout me life.

Wild background vocals. Interesting break at 2:00 minutes. Weird “Big Boys Don’t Cry” section. Gets out of it with a transporter sound (see Star Trek 2) – which might be exactly what the doctor ordered. Get outta there! At 3:25 until about 3:51– the song’s most interesting musical passage.

The song captures the round sound vision, but despite the wetness of its production and the insinuation made by the name of the band, leaves me a little dry.

2. “Run That Body Down” by Paul Simon

First, I must again reveal my love for Paul Simon. I really do love him - his days in an acoustic duo, through his 70s addiction, and then exploding into what I can only describe as uniquely Simonesque. I think Dan is right on in terms of Simon replicating a contemporary form of music in the 70s along with Joel, P-Mac, and Elton, but Mixdorf is also right – post 70s – Simon truly is an artist unto himself. So, I love Paul Simon and was quite excited to listen to “Run That Body Down,” which I have never heard before. I applaud Dan’s launch into the albums of Paul Simon (and recently benefited from such a launch with Dan’s “One Trick Pony”). I am intrigued by Dan’s comparison to P-Mac’s debut solo album and agree for the most part – though P-Mac’s, I suspect, might be better, barer, and stronger overall– though I am only able to base this on Dan’s info and this one song.

I love the smooth vocal by Paul Simon and believe he is a bit underrated as a vocalist. He can sustain notes with oohs and aahs as well as anyone and has such a gentle, smooth quality. I like the transition that begins around 2:10 culminating with the surprising bit of guitar work, then spilling back into the “normal” part of the song. I like the words and find them comical in that “song kind of way.” The whole notion of pointing out to someone that you are “gonna run that body down” is great. Smoking, overeating, unprotected sex. Great.

This song has grown on me with each listen. I liked it initially and like it more every time I hear it. There are Simon songs that fit the bill of Dan’s round sound better, perhaps, but this one works nicely on the collection. I’ll “speak” more about this in my discussion on song #3.

3. “Reminiscing” by Little River Band

In my initial listens, this and song number 1 became clear illustrations of Dan’s Round Sound concept. Before I listened to the album and only saw its cover and title, I thought it was going to be a funk compilation. After becoming more familiar with the album, I soon listened to it as representing quite a large grouping of songs, of which this and song number 1 were firmly rooted, but not as the clear cut representative for the sound Dan is presenting. I see many similarities between this song and “I’m Not in Love.” They both were songs I have heard, but never LISTENED to. Both were songs that I would switch away from as soon as they began. Both almost appeared to be elevator music to me.

That said, after listening and reading about the songs, I like “Reminiscing” better than “I’m not in Love” – though I am not too crazy about either of them. And John Farnham – oh what Greenpeace did for him, at least for me. And Australian, there was a time when I seriously thought they were a NE Iowa band.

Dude – I am sorry I cannot like this song as much as you. The song is very Steely Dan like to me, and like them, I do not hate them, it is simply that I would search the radio for something different. I like the horns and know what you mean about the guitars being Prince-like. The singing is good and I do like some of the nifty chord changes. The ending could have been a 44 ending.

And now . . . let me take you down . . . to the bowels of West High School, where I temporarily belonged, amongst the tunnels and the Anderkays, Greenwoods, and other creatures of the pool. We would work our muscles and then . . . we would stretch and do aerobics.

The music chosen by the assistant swim coach: music from the genre of Round Sound. There was the LRB, Joel (“Just the Way you Are” was a major stretching song), Simon, Elton, Hall and Oates – and others. Pictures of our favorite Aerobic girls motivated us from the walls. Early mornings before school or after school into the early evening hours – stretching, twisting, reaching, and contorting to the electric piano. Aside from hearings in the car, it is there, on the sweaty blue mats, over and over and over again. I cannot help, but equate these sessions with that sound. It isn’t all bad, but it is there and I needed to say it. That said, I was able to disassociate myself from those memories as I listened – no problem, but on some level, of course, it is part of my experience. I chose to disclose the info during the discussion on the LRB because along with Joel and Simon, this song without a doubt was drilled into my school skull during “cool down” exercises.

4. “What You Won’t Do For Love” by Bobby Caldwell

I really liked your snapshot of 1978. I think I may have heard this song before, probably a long time ago in a car. I am not specifically familiar with Bobby Caldwell, but I am vaguely aware of artists like him.

Love the drum fill at 3:58 – great sound, great continuation. He is an excellent singer – and if I were to guess the color of his skin, not white. I wasn’t going to use the word “muzak,” but there is that element to the round sound, due mostly to its ultra smooth and very gentle quality – not entirely a bad thing, but obviously such qualities could cause the listener to view it as background music. Like jazz or even classical music, until you get into it – then you either dig it or hate it. That is the clearest I can put it. I am not dismissing this music at all; on the contrary, I am situating it with that kind of music that is softer on the ears and therefore less demanding of the listener’s attention – at least as far as I think so. A punk song will demand attention and will demand the listener to make the decision – do I like or do I hate – instantly – no passing it off or ignoring it. Back to the ole “hearing” a song, but not “listening.”

Jazz, smooth R&B, but definitely working within the context of Dan’s Round Sound concept – I wonder if Gnarls Barkley ever studied Caldwell. Caldwell is certainly not as psychedelic as Barkley, but some of the vocalizations reminded me of the two or three songs I have heard from Gnarls.

5. “Little Jeannie” by Elton John

At this point, the Round Sound begins to sparkle. Truly Sparkle. I do love this song. Elton John really turned into a fomp (whatever that is, but I think you can discern at least some of what I mean). Mixdorf’s glasses and costumes did not bother me until the music lost its artistry. Elton lost it. Plain and simple, but let’s return to the time when he was very very good, including this song, which I did not know was without Taupin.

An interesting merging of Mark Anderson and Dan Hylton helped introduce me to the music of Elton John, Mark the earliest stuff and Dan, a little later. My very favorite Elton songs are: “Someone Saved My Life Tonight,” “Goodbye Yellow Brick Road,” and “Empty Garden” (I credit Dan for introducing the great “Empty Garden”). “Little Jeannie O’Meara” ranks in my top ten favorite Elton John songs and possibly in the top five.

I suspect Elton John was at his best when he was taking drugs. Many drugs throughout the day and night. Drugs that opened his mind and helped him to socialize with other artists. How they must have laughed while under the influence of such wonderful drugs. Laughing and writing and recording – what fun. Drugs truly are amazing. Consider the state of music had there never been an influence of drugs. Beautiful, yummy drugs.

I totally agree about the saxamaphone – an instrument often recorded badly - interestingly, Paul Simon and George Harrison have achieved the greatest sax sound pop recording success in the history of our world.


6. “Midnight at the Oasis” by Maria Muldaur

First, I LOVE “Come Hither.” Oh my. This is a happy time. It could have been a Beatles movie from the early sixties and this would be someone they would meet. And she would sing them this song and the world would be warmed, but not in a climate change kind of way.

“Sing your camel to bed,” (two great humps) and “Heaven’s holding a half-moon” (and it aint no Levendusky) – all great.

And shit shit shit! “I’ll be your belly-dancer.” Does she know what she’s saying?! The French teacher we all love who dances on the side. Meet me Thursday and we’ll catch a glimpse through the curtains and if we are lucky, we’ll be invited to the dressing room. SHIT!!

I totally see the solo at 1:20 as being Mark Anderson like – yes! And “harem honey” – very nice indeed!

“I know your Daddy’s the sultan” – see that’s the whole thing. How fun would it be to be young and attending a political event, flirting with the opposite gender while parents fulfill their ambassadorial duties - the chase, the encounter behind the building, the hope that others will get the hell away.

A fun, bouncy song – why not romanticize the middle-east, god knows it needs it!

Yes – the stereotypes abound as Mixdorf points out and yet – how sad. I often cite the natural beauty of North Korea that goes unnoticed, but the same goes for the middle-east. Looming over a visit is the constant warning, instructions to avoid danger – not by a certain reptile, but the political landscape in which we exist. The beauty of North Korea is ignored. Could we just cross over and enjoy its lush greenness? That we are not allowed makes it worse. If we were allowed, perhaps we still would not go, but knowing we could is somehow very comforting. Thank you Maria for my middle-east experience.


7. “Arrow Through Me” by Paul McCartney

I love this song. It is great – I actually like the words and this song contains elements that easily make it among the strongest on this compilation. I realize that some of you might roll your eyes, knowing and thinking that I love everything the man does – not true, but yes, I ADORE Paul McCartney. He is truly amazing, and to quote from Dan, “So awesome, and so funny, at the same time.”

Paul is not only able to fully embrace the qualities of almost any genre, he is also able to take the genre to the very top of its form, while still adding a bit of McCartney to it – in other words, at once:

- he retains himself (there can be no doubt that this is McCartney)
- he claims top position in the genre (“Arrow Through Me” is the best 70s round sound type of song as “Honey Pie” clearly illustrates the best of vaudeville).
- he masterfully captures the elements of the style he approaches both in terms of sheer natural talent and flawless execution

If he announced he was going to compose a 1994 grunge song, you can bet that it would be the best grunge song you ever heard.

So, this is what is generally accepted and understood about P-Mac. Incredible, beyond description, and out-of-this-world.

I love the arrow zings placed throughout the song and the rich, deep bass tones. His vocal is so smooth that even the warted hide of Darrin Schreiber might let a few slip smoothly by. I think what he does with “zero” is fantastic. I love the space of the arrangement and the little drum effects used throughout, growing especially prominent at the end of the song.

Think Legolas – running an arrow through that orc – that is bad – and that is what Paul is talking about. Beautiful.

8. “Blue Bayou” by Linda Ronstadt

I went nuts with this song. It gave me instant sprinkles the moment she started singing. I know little of Linda – “Under African Skies” of course. I probably have heard this song, but I’m telling you – I really do not remember.

What a voice! Really – what an amazingly emotive, clear, beautiful voice. And at 45 seconds when she intensifies – wow!!! I like the little steel drum type sounds and the harmony is great – informing Cynthia Lauper (“Time after Time”), perhaps, later.

I kept repeating this song at work. The mood was right. I must have played it a dozen times in a row. Love it. Is it about a place she grew up, had a daughter (baby), and then left, but the daughter stayed? Maybe. She left for a job or a soured relationship, but time heals, the sails representing the surrender of her soul, and so she returns to where she belongs. There was depression, but now subtle elation.

9. “Sara Smile” by Hall & Oates

I remember really liking Hall & Oates, culminating in the purchase of the album, on tape, “Out of Time.” I often passed over “Sara Smile” for their harder (hee hee pee pee) stuff like “Say No Go,” “Rich Girl,” “Adult Education.” But these days I can certainly appreciate this song much more. Hall is an incredible singer – what a voice. Like a giant Rick Astley, but with a higher voice – they could have been brothers or at least cousins. Then the darker, more evil Ric Ocasek. So Dan, who would win in a fight, Ric Ocasek or Hall? Or, Hall and Oates vs. Evil Ric Ocasek and the diminutive Rick Astley?

I do like the song and think the singing is outstanding, as is the orchestral arrangement.

10. “Don’t It Make My Brown Eyes Blue” by Crystal Gayle

We all seem to know this one. It must have been hugely popular. Did she also sing the song about “Your So Vain” – about accusing someone of thinking this song was written about you. Or was this Carol King’s aim at James Taylor. What did James do to her. Good God! She still hasn’t gotten over it. Or am I thinking about someone else. Crystal does have a sweet voice and the piano was lounge-like, and I can dig on a nice lounge. The song is short and I think that works well within the context of ending.

Closing

I enjoyed the Round Sound a great deal and had fun writing up the comments and listening and reading Dan’s and other CMCer comments. All excellent.

Dan’s write-up provided an entertaining and informative guide into the Round Sound. What a time period. And, I must say, a stunning run of songs from song #5 through song #8. Wow!

BS: Blue Bayou
SIWHI: Something by Joel

A fine well put together collection – a nice nod to Dan’s occasional inclinations to the 70s!

How About that Round Sound?

I will give 500,000 points to the guy who makes their comments on Dan's January album first. When I say first, I mean not being the last one. The last one gets a giant wet Willie and back slap!

Not trying to light any fires here, but I am dumping gas on you.

Listen on my friends, listen on! :)

appeal to the Czar

I know I owe comments and a CD...

and they will be coming, but not right away

the CD is more or less complete, but I need to do comments for Dan, and my next CD

so Czar, I beg you not to send out your ruffians to behead me

if your majesty could hold on just a bit longer

I know your anger is great and I will offer myself up to your majesty in other ways if it allows your anger to subside, but please, let me have more time

Our Mission Statement

We might need to change our mission statement to something like one CD every now and again until the rapture? What is the collective thought?

Bear's Lick on That Round Sound

That Round Sound
Volume #18

After CMC's cardiac arrest last year, I thought that we might be finished at Volume #17. However, CMC has escaped from death's clutches to provide the members of this cooperative with interesting and incredible collections of music for months to come.

One of the things that I appreciate the most about CMC is the wealth of knowledge that is shared. Because I virtually know nothing about music, I have the most to gain by listening to your albums and from reading your comments. I have learned a ton so far and I am ready to learn more. I hope that I can get some graduate credit hours from all that I am learning here at CMC University. Thanks to all the members of this fabulous group for what they do!

THAT ROUND SOUND---------Wow! This is exactly what I am talking about. I had no idea what the round sound was. I heard some of these songs before but never knew that they had a name for this sound. I have always chalked it up to what lounge lizards listen to when they are kicking back with their happy hour cocktails.

Let me first comment on the album cover and it's creative features. Dan has once again delivered an album cover that is unique and colorful. The colors are great and the image is easily burned into your mind. I love it! Whenever I look down at the cd case, which rides next to my transmission stick, I can't help but to notice that Dan is down there with his mouth wide open. It's a little weird, but not unusual. I find this album cover to be one of the best.

My impressions after the first listen through were those of concern and curiosity. Why was I concerned? Well, I was thinking that Dan really set the bar high in exposing me to mostly new songs and to a musical concept in which I had zero schema. You can say that I react this way for almost every album that comes out on CMC. It is not a ground shaking event or an isolated thought identified with this one album. But seriously, I was concerned about my ability to contribute valuable comments about this music and sound. "C.F. Bear, why were you curious?" I was curious because here before me sits a collection of new songs that I get to dive into and for them to take me on some type of new ride. I was excited to see how I would feel after getting off this new ride.

I'm Not In Love: 10cc

I never heard this song before. I am always amazed when one of you guys say that you heard a song a lot growing up because it got a lot of air play. My parents were listening to 70's country in those days, thus I didn't hear much of non country radio. AM radio was the only thing we could get in our old cars. The first thing that captures my ear in this song are the a-ha's that alternate from speaker to speaker near the beginning of the song. They also repeat this feature a few times through the length of the song. Even if she is mocking him and two guys already hate this aspect, the best part of the song in my opinion is the female whispering, "Be quiet, big boys don't cry..big boys don't cry." It is a little naughty sounding to me and I find that very interesting. I love it! I also really lke the section of the song tha repeats "Ooooo, you wait a long time for me" and the minimoog action starting at about the 3:20 mark. Do I love the song? No, I find it too round. I can appreciate this song for it's contributions to the album, but I would be putting it on my i-Pod (Samsung).

Run That Body Down: Paul Simon

Once again another new song to me by an artist that I find incredible and amazing. You absolutely don't need to apologize to me. This is a great tune. Some very cool electric instrumentaton at about the 2:25 mark. Kick ass! If not for that part, I don't hear a lot of the round sound. It is almost a stark contrast to I'm Not In Love. If you asked me if this was a round sound song, I would say no. The lyrics are good and they tell an interesting tale. Imagine going to the doctor and then being inspired to write a wonderful song. Man this guy has talent. Thanks for including this song. I will include this song onto my i-Pod without hesitation.

Reminiscing: Little River Band

I guess I have to say that this song is somewhat new to me. I might have heard this song once or twice back in the day, but not more than that. In listening while I write, each song on a loop for at least 10 times, my comments, my mind is blown away again by some fantastic horn work that starts in at about the 2:50 mark. These fine horns finish the song off as it fades away. Awesome! The ending has a very jazzy feel to it and that makes the song stand out to me. The horns made me think of a Mexican band playing jazz at about the 2:50, 3:19, and 4:00 marks. What a fun sound and funny picture in my head.

Man am I jealous of Meth's time at the pool. I never swam at Byrnes or Gates when i was a kid. My mom signed me up for swimming lessons at the YWCA. Not the YMCA like most kids who don't go to Byrnes or Gates for swimming lessons, but the YWCA. My mom made me wear a queer looking yellow swim cap too. I swear it wa a woman's cap! Man was I sheltered from music that was not country growing up. What would my musical tastes be like if I was exposed to other types of music as a youth in Waterloo? What would yours be like if you grew up with nothing but country? Interesting to see what would have been. I probably would not be listening to an album right now by Dan because he would have killed himself in high school. :)

I like the song to a point, but I am not sure that I would enjoy hearing it all of the time. To fully appreciate the song, I would have to be in the mood for cocktails and the smoke filled air at the C.F. Panther Lounge. Glad to have heard it again and I will enjoy hearing it whenever I listen to That Round Sound. I don't think that I will include this one on my i-Pod.

What You Won't Do For Love: Bobby Caldwell

Not much to say about this song. It's mostly a blank for me. I have not heard this song anywhere before receiving this album. Is this a Will Smith song? I like some of the horns, but this song doesn't do much for me. I am sorry that I can't say more.

Little Jeannie: Elton John

I have heard some Elton John before, but this is another new one. Not crazy about Elton John, but he has a few darn good songs out there. Some that jump to my mind include: Your Song, Goodbye Yellow Brick Road, Rocket Man, and Candle in the Wind (the original and the tribute to Diana). The only album that I ever purchased of his was his greatest hits.

This song for me brings the round sound out of the era of avocado green appliances, mustard yelow house siding, and shag carpet to a new and upcoming big hair state. This along with Paul Simon's Run That Body Down are my kind of round sound songs.

Did you go to the Happy Joes that use to be on Washington street? There is a car dealership standing on that spot now. In fact, right where Happy Joes stood is where my Montero was sitting when I bought her two summers ago. Maybe I should call her Happy Montero or Montero Joes? What do you think?

Dan, I also like the aspect of asking someone to be your acrobat before asking them to be your lover. What a great concept if your a bold and daring man. It is a very nice song and it has been cleverly written. I will include this on my i-Pod.

Midnight at the Oasis: Maria Muldaur

Shazam!!!! I want to go to the Sands in Las Vegas right now and play slots all day. What a damn good song! I love the feel, the lyrics, and the music that this song provides. "I will be your belly dancer." That's what I am talking about. She tells you that you don't need 50 women (a harem honey), you just need her and only her. To further her bold proclamations she tells you that after a ride with her you won't need a freak'in camel to get you around.

When was the last time anyone thought that the Middle East was sexy? Maybe Dan's parents? "Come on until the evening ends!" Wow! Dan this is a big winner in my book. I am adding it to my i-Pod before I finish the rest of my comments.

(time gone: about 15 minutes)

I am sad that Meth doesn't get the same buzz from this song as you and I do. Maybe there is another song out there that get's his hive buzzing.

Dan said, "We'd all "Go out to a sand dune, real soon," given the chance, would we not?" You bet brother! However, if it is too hot just wrap me up in a cool wet sheet again.

Arrow Through Me: Paul McCartney

Not new to me since I heard it before on Dan's lost Paul McCartney album. Forty years from now we will be making comments on CMC about Dan's lost album that magically reappears. The lyrics in my opinion are bad! Paul singing ZZZEEEERRroooooO is just awful. "Run an arrow right through me " is stupid. I really get the concept of the song, but I can't get past the corn dog lyrics. This has to be one of the worst Paul McCartney songs ever composed. Sorry Dan, ut this is my least favorite song on the album.

The beginning is interesting with the moog going deep. I like the electric drums a lot in this song and I appreciate the round sound that he is trying to convey. I like Paul McCartney a lot and I think that he is a musical genius. In this song, however, he is showing that he can turn that switch on and off. There are many songs of his that I truly adore. At some point throughout out adventures in the CMC you will her a few of those. My friends, at this point I am done duscussing Sir Paul.

Blue Bayou: Linda Ronstadt

A song that I hve heard many times on that AM radio in my parent's car as we traveled to and from Osage, Iowa to see my grandma. She has strong country roots that run deep. The nice thing about some country artists is their ability to crossover. Just because you leave a bunch of country songs in your wake doesn't mean that all of your songs have to be country. That's a remarkable trait to have as an artist don't you think? It should not be viewed as a negative in any light.

Her soothing voice rocks you asleep and rubs your overstuffed shrimp tummy gently at the same time. Her vocal range is impressive and it really helps this song go from average to above average. The ending words Blue Bayou sends shivers up and down my spine. "That familar sunrise through those sleepy eyes..how happy I'd be" is just plain fantastic. I can see the sunrise and I can see those sleepy eyes when she sigs this line.

Dan found another great song. Not sure how round it is, but I like it. Yes, I predict another i-Pod candidate.

On a side note, does anyone else hear the scratchy background noise at the end of the song? It starts at about the 3:20 mark.

Sara Smile: Hall & Oats

Maybe it should be Kids in the Hall & Ouaker Oats? This song is a newbee to my ears and I can dig it for what it represents. I never really heard much of Hall & Oats before this album, or at least I never knew I was listening to them. Last Christmas we had a white elephant gift exchange and I recieved a copy of "Do It For Love". I have wanted to give myself the experience of listening to Hall & Oats, but there was always something else I would rather listen to at the time. Thanks Dan for forcing me to give them a listen.

The scratchiness is here at the beginning of this song too. Maybe it's just my copy? Not really drawn into this song. It's not bad, it is just a very similar song that sounds like 50 other songs. You are really covering all aspects of the round sound. This collection is completely rounded. You go from very round sounding to not very round like and back to round again. I aplaud your willingness to deliver to us this extra large and multi topping musical pizza. From where I sit this pizza is delicious. There are only a couple of toppings that I have to pick off.

Don't It Make My Brown Eyes Blue: Crystal Gayle

The piano is amazing. Her voice is magical and it blends in so nicely with the piano. I have not been exposed to a lot of Crystal Gayle, but I have heard enough of her on the radio to know who she is. I have known that she was Loretta Lynn's sister for a long time. When I think of her, I instantly get a picture of that really long hair. All I can think about is how does she sit down on the toilet without her hair touching anything nasty? Does she ever sit on her hair and does that jerk her head backwards?

This is a wonderful song that is a must for my i-Pod. This kind of round sound song is another one that is up my alley. I second the comment that Dan made about her telling us the fact that her brown eyes are now blue just a couple of times before the song is over. It is a short and sweet treasure.

Final Comments

Thanks to Dan I have learned something new. I never knew what the round sound was and I had no idea that this sound even had a name. The round sound to me has a variety of levels. Some of those levels I love and some of them I would like to skip right over. There are many good to great songs on this album and like I already stated, those will be added to my often listened to i-Pod. My favorite song is Midnight at the Oasis. My least favorite song is a tie between Arrow Through Me and What You Won't Do For Love.

Moog Music: Mix Reviews CMC Volume 18: That ROUND SOUND

All hail the Minimoog, released in 1970, and by my thinking, the progenitor of the Round Sound. And Round Sound is a pretty perfect description, though partly for the beauty of its alliteration. This music isn’t round exactly, but it has been smoothed and shaped to remove any sharp edges. Mellow Gold (Volume Two will get you Eric Carmen – or there’s this one) is another term that was applied to various retrospectives of the songs on this volume. Most of it anyway, as there are some tracks in here that seem somewhat pointy to me.

1. 10cc was more than two dudes, at least when this track was released. The band is named for the average quantity of semen ejaculated – which gets them some points from me for cheek if nothing else. Two of the quartet were the later MTV favorites (for a brief shining moment) Godley and Crème, though they weren’t in the band long. G&C brought us the song Cry. It was one of those two that brought that ‘electric piano’ sound to the band (all according to AllMusic).

I remember this song pretty vividly. It received wide radio airplay. I don’t have especially strong feelings about it one way or another from those memories, though it is strongly evocative of that era, whatever that era was. It strikes me now as a pleasant enough tune, hook and all, but that ‘big boys don’t cry’ bit in the middle is completely inexplicable. Is she mocking the singer for his clear denial of the fact that he IS in love? Her tone would indicate no, but the sentiment says yes. As I suspect will become apparent over the course of this collection, that ‘softened’ keyboard sound is not one I especially enjoy from any era. Call it electric piano, organ, keyboard what have you, it really doesn’t float my boat. It seems to flatten the entire song like a sort of white noise, and that may be my general sentiment of the entire genre. It might have been great in 1977, sitting happily in a bean bag chair, stoned and staring off through the beads that constitute the door to your basement bedroom, but it seems really dated today. It’s not that I find it unpleasant in any particular way, it just seems really, really bland.

2. This is one of the pointier songs for me on this collection. It’s not that it isn’t mellow or gentle, but it doesn’t feel especially ‘dated’ (and I don’t mean that pejoratively) like many of the songs on this collection do, and generally the arrangement employs the instruments in their ‘natural’ sound. This seems almost like a little number by a jazz combo, with some laid back dude plucking away on an upright bass, little guitar flourishes, with whatever ‘electric piano’ there is relegated so far to the back as to be inconsequential. The only part that seems to tie it into the Round Sound is the extensive use of effect on the guitar solo.

Additionally, this seems like a song that could have been written by Paul Simon last week. That’s not to say that he doesn’t have some songs that feel connected to the Round Sound era, “50 Ways to Leave Your Lover” being one that pops to mind. Maybe it’s my memories of that song that makes the connection, but it’s always had a distinctive 70’s feel to me, somewhat unsightly and unwashed. This one is new to me but seems pretty crisp, if gentle, and not especially Round. Good song.

As to the notion of the Pauls, Elton and Billy adapting well to new eras, I really don’t see that with Paul Simon. Not only does the sound of Paul Simon not seem to change to adapt whatever sound is the current one, they don’t seem to fit the current style of music very well at all. They just seem to suit Paul Simon. I think the other three tried to go along and experiment with whatever was going on at the time, but even then were such singular artists as to not get very embroiled. It wouldn’t be hard to make the case that the other three were pandering in order to sell albums and it is only their talent that kept them from becoming cartoons, and one sponsored tour away from turning them into The Rolling Stones. As it is, only Paul McCartney has continued to make new music over the last decade, with Elton and Billy occasionally trotting out their baby grands (often together) to sell some concert tickets but otherwise setting on their laurels.

I’m torn on Paul McCartney. He may actually be insane. I haven’t seen an interview with him since the 80’s that didn’t make me wince. He’s either become slightly sociopathic, or is only going through the motions required when releasing new albums. I’ll give him the benefit of the doubt, as I will with regards to his possible pandering, but he gives me the creeps.

3. A funny history goes along with this band, one that I would never have guessed but one I feel obligated to explore as part of CMC due-diligence. First and foremost, they are Australian. I would never have guessed that. Second, they seem to have assembled themselves entirely for commercial success. Significant band members didn’t record together, didn’t travel together while on tour, and ultimately these tensions led to the fracture of the band and Shorrock’s replacement with a guy named John Farnham, known to some of us because of his inclusion on the Grenpeace: Rainbow Warriors double CD.

Anyway, this is one of the ‘pool’ songs that seem to have drilled so deep into my sub-conscious that they will remain there forever. The ‘pool’ is Byrnes Park public pool, a block from my childhood home and the place I spent an insane amount of time at in my childhood. The PA system blared low fidelity versions of all the biggest hits courtesy of whatever radio station was big at the time (I believe this predates KFMW) and this was one. My fondest memory of a song burned into me in that venue was Let My Love Open the Door by Pete Townsend released in 1980. This song predates that one by a couple of years (1978).

As for the song specifically, it occupies a generally favorable part of my memory, and listening to it again it’s easy to understand why. Nothing about it is offensive, such is the primary mission of That Round Sound. The arrangement is far more elaborate than the one found in 10cc and as a result that ‘electric piano’ is less grating to me even when it occupies a prominent position, but it still seems to act as the great neutralizer. I’m not a fan of that drum fill, as it sounds comically artificial to me. Horns good. Strings good. Lyrics good. Overall feel pleasant. Nothing about this song or perhaps any among That Round Sound is going to make me hate them, (they are designed explicitly to do otherwise) but neither does it cause me to reminisce.

4. Apparently Bobby Caldwell is/was huge in Japan, and has thrown off R&B for jazz in the intervening years. Add that to his whiteness and you have quite an enigma.

This song seems familiar, and perhaps I heard it in the pool, but it isn’t stuck in my memory like so many others from this era. It also seems to be more straight-up R&B than most of the other Round Sounders, ignoring his pale skin. He could have been the opening act for Earth Wind and Fire or The Commodores at the Apollo where a very confused crowd would have eventually come around to his infectious groove.

Again, there’s little to dislike about this song, but there are few times in my life where I feel like getting into that 70’s mellow groove.

5. Oh boy. This is such a pool song for me that I can actually smell the chlorine and sense the evening stretching into night, the pool nearly empty, the frenzy of the day long past and only us hardcore and terribly pruned swimmers left. It’s so ingrained in my memory, and so evocative of happy memories that I have a hard time separating the experience from the song, but I shall try.

Elton is one of those artists that I’ve often appreciated but never enough to buy an album, not even a greatest hits compilation. His cartoonish behavior turned me off, crazy costumes and ridiculous glasses, but through his insanely long career (this was from his 21^st album! In 1980!!) he certainly has put out a notable number of songs, some of them just great. This wouldn’t be my favorite, it might not make the top 10, but it’s good.

So all right, the song itself….the electric piano seems to have a lighter uplifting touch than on many songs of this collection, brighter, cleaner with more distinction between the notes. That helps me. The rest of the arrangement has a slight tropical lilt to it that I think adds to my pool association, except for the fake horn sound that shows up before the chorus. That’s a little grating if I force myself to dissect it that far. The saxamaphone is bad…reminds me of the sax guy from the Tina Turner Mad Max song that later showed up with a song of his own on the Lost Boys soundtrack…along with a Roger Daltrey rendition of Don’t Let the Sun Go Down on Me…by EJ. Weird free association there.

Overall it’s a song that I can happily enjoy.

6. 1973? A song presumably ‘inspired’ by the oil embargo and all the bad associations that developed around ‘Arabs’ in that period, but also looking back onto the weird romantic notions of Arabia coming from old Rudolph Valentino movies, this song is truly inexplicable.

There are plenty of great funky guitar riffs in here, but little in the way of Round Sound, though I’ll forgive you for including it for all the reasons you mentioned. I don’t find her voice to be ‘come hither’ in the way you do, but I do like the way she says ‘harem, honey’ and find the song to be fun generally. I have no recollections of it from age 2, but I have heard it since then, though none really stuck in my mind. It feels familiar, though I can’t say exactly why. It seems to be of no particular era in the same way that the Paul Simon song does for me, with enough unique elements to make it sort of fresh.

She apparently has continued to make albums up until the present.

7. Plenty of moog associated with Paul McCartney. And thanks, it’s now hard for me to get the YouTube video out of my head, waiting WAITING for the guitar solo. WHERE is the guitar solo???!!!!

Paul McCartney, especially as a solo artist and like several other musical phenomena, created lots of songs where the whole is LESS than the sum of its parts for me, and this is one of those songs. It’s plenty likable, and fun, but there are lots of things that leave me flat. The lyrics are corny. The ‘horns’ at the end are excruciating. The keyboard part that kicks off the song and sits underneath the whole things seems completely out of place (more sinister by far than the rest of the arrangement).

I sort of see solo Paul as an exceedingly (possibly insurmountably) talented guy who no longer had an equal to bounce ideas off. No one that would tell him when he’d gone too far or when he’d gone completely off the rails. He was surrounded by yes men and Linda, the worst yes ‘man’ of all. And so he was completely free from beneficial criticism and thus created lots of great songs in a sea of much more ordinary songs, simply because he had no one to tell him he was being a wanker. His talent was such that he managed to succeed and occasionally excel, but never with the degree of consistency he had enjoyed as part of a viable creative and critical group.

8. I would guess I’ve heard this song more than a hundred times without ever really listening to the lyrics. If I had, I might have spent the better part of three decades completely and utterly confused. The sentiment of this song and the implication of the title is the Blue Bayou is a sad place…but NO, it’s not true. Damn Roy Orbison! Playing with my mind like that. It’s not right. And what the hell was I doing the other dozens of times this song crossed my path.

‘…fishing boats with their sails afloat…’ is a stretch, if understandable from a rhyme scheme point of view. Like the sentiment of this song that particular bit of lyrical prestidigitation escaped me until now, and also for the better.

Her voice is remarkably evocative, though it would be interesting to hear the Roy Orbison version, as his voice also seems tailored to this song. I like the simple spare arrangement, though again this doesn’t seem particularly Round. They clear everything out of the way when the time comes and make room for her booming plaintive calls, and it works.

It’s hard for me not to hear the Johnny Alter song from the Al Franken Show when I hear her sing – it being my most recent association with her.

9. No love for John Oates! There’s got to be something to having Oates in there. For all we know Oates wrote all of the songs, in between moustache trimmings and while Hall was out brushing his luxurious hair. It’s not like Daryl Hall had a spectacular solo career. Sure, he could’ve been a crooner and released album after album of soul hits (for all I know that’s exactly what he did) but he sure didn’t make it without Oates. And vice versa of course.

Sara Smile was one of their first hits (1975) and one that I knew, but clearly not from when I was 4, so somehow I got exposed to it over the years.

Again, by the defined standard of the Round Sound, this ain’t exactly it. This is ‘blue eyed soul’ or so it is apparently called when white people sing soul. Even with the gentle singing, most of the instrumentation feels very organic, where the instrumentation in 10cc and LRB feels inorganic, and thus seems to defy my sense of That Round Sound. This song dates itself by virtue of its soul sensibilities rather than by virtue of being that mellow 70’s sound.

It’s a lovely little song, one that sadly led to the later execrable Maneater, which I loved at the time, but now look back on and wince. Clearly their 70’s hits are the ones to be sought out and enjoyed, as you say, and this one is very enjoyable.

10. She was hot, though her country bona fides made me struggle with that at age 7 or whatever. She was all over the airways, especially on Hee Haw as I recall, a show that my family endured to please my father. Jesus, her sister was Loretta Lynn.

This is ‘country music’ I can get behind. It has the country sentiment without resorting to cartoonish accents. It’s also not especially round. I like the tinkling keys of the piano and the rest of the arrangement, organ and all, as it all seems to work together. The organ is used in a way that doesn’t just muddy up the sound that everything sits on. It makes itself known when necessary and the recedes, as it should.

Sub-executive summary: do I know what the Round Sound is? Maybe…but very possibly not.

That Round Sound:

10cc

Little River Band

PM

Elton John? (also below)

Somewhere in the 70’s sound:

Bobby Caldwell

Elton John (also above)

Sara Smile

Blue Bayou

Crystal Gayle

Lost in time:

Paul Simon

Maria Muldaur

I would agree that this is not some bullshit 70’s collection. It’s a generally enjoyable snapshot of an era, and maybe a sub-genre, if not a sub-sub-genre. The songs that fit closest to what I understood as That Round Sound are the ones I like the least (though still happily listen to for the tenth straight time on repeat as I write this) The others are mostly evocative of the era and also enjoyable, but different to my ears. Maybe I’m not getting the sound. Maybe I put too much into the moog. The world may never know…

BS: Paul Simon

SIWHI: something by Air Supply? (this may invite an ass kicking)

Keep up the good work. Of all the participants yours have varied the most from disc to disc and that’s a good thing.

That ROUND SOUND: cmc vol. 18

Friends, the year is 1977. Or 1973. Or 1979. Or sometime thereabouts. A group of backing musicians, including an electric guitarist, a drummer, and - most notably - a keyboardist ("electric piano" they call it) stand about waiting; their unkempt mountains of hair in seeming contrast to the velvetty-blue sheen on the stage and setting, and perhaps in their tight clothes which - while perhaps a bit garish, are expensive looking and new. Finally, the lead singer appears and the whole band launches into some sort of crazy sound not heard in the decade before. The audience can't put their collective fingers on it. The lead singer's voice is a full, clear tenor, unlike the gravelly, rockin' screams of post doo-wop rock 'n roll to date. The arrangement is lush, the smooth sound of electric piano drawing the bars and various other strains of music together. Drums and rhythm section, while not remotely funky are most definitely groovy. Yes! Groove! Like the grooves on an LP! This music grooves. It curls and twists and asks you to get high with it and meet you later at the Regal Beagle. Lower your resistance, forget what you think you remember about these songs - and this period of history in rock and roll. Think this is Freedom Rock? Think again!! This is the Round Sound. Can you dig it?

1. I'm Not in Love - 10cc: This track, by a bit of a throwaway 70s band (my apologies if anyone feels otherwise), perhaps captures as pure of a "Round Sound" feel as anything out there. Indeed, this had been on my appreciation list - but in that category of 70s song where my attitude is "Man - I love the song, but there's no way I'd ever buy an album" (along with Eric Carmen's All by Myself and Carly Simon's Nobody Does it Better amongst many, many others) for many years. Enter iTunes. In this song, the electric piano isn't just present, it drives the entire melody. I've always loved the jazz chords, and the way they sort of "step" around, under the vocals. I really love the "step up" right before each "I'm not in love," passage. And the vocal: great example of a Round Sound voice. Clear-as-a -ell 70s croonin'. Unfortunately, there's a number of weaknesses in the song, and I feel I should address them, individually. The words are pretty lame, and I'm sorry for that. Worse, that ridiculous British-accented woman's "big boys don't cry" should be making the two guys in 10cc wince and cringe every time they hear it - even now, 30 years later. Man, that's bad. That's producer-driven crap if I've ever heard it, kind of like that big "shhhhhienk!" sound in U2's Unforgettable Fire. And finally - that Naked Eyes "responsoral" sort of keyboard is just too much. So - for all that - sorry. Somehow, I still feel this is the right song to kick off the collection.

2. Run That Body Down - Paul Simon: OK, I realize that there will probably be precious few "new" songs for anyone in this collection, and for that I apologize again. It's not been my modus operandi thus far in the CMC Music Factory. I know that discovering songs you didn't know before is one of the nicest benefits in this collective, and so it is in that spirit (I'm thinking, unless all of your Paul Simon discographies run deeper than I guess) that I offer this song up. Run That Body Down is a relatively little-known track on Paul's debut album, which I think shares a lot with Paul McMartney's debut, beyond the fact that they were both epynonymous. Both albums were a chance for artists that had a legendary body of work as part of a group to offer up their own intimate, more casual sounding collection of songs that, stylistically, were major departures from what their fans had come to expect. Also interesting (and bear with me as this prelude to the actual discussion of the song gets longer and longer) that Paul Simon & Paul McCartney are among this elite level of songwriter (also see Elton John, on this collection; and Billy Joel, regrettably left off the collection) who relish the opportunity to immerse themselves in the "sound of the day." Perhaps other artists whose careers span decades are willing and/or able to do so similarly, but these four guys I note particularly as having the ability to do so with great success, both commercially and artistically. They all seem to have been quite comfortable adapting their respective "sounds" as the decades rolled by. And that ability - or at least one sample of that ability - is showcased on That Round Sound. Now...about this song: this is Paul Simon groovin' in a way that nobody really guessed at before this album. Spare acoustic guitar, Paul's mellow voice which progresses into a falsetto that complements wonderfully those electric keyboard notes, while "rounding" along a lyrical work that is - on the surface - an inconsequential, repetitive sort of allegory. I love the words! I take them for face value. Paul goes into the doctor, gets an earful, then turns around and takes it out on everyone else he knows.

3. Reminiscing - Little River Band: Aftershocks (17 years into the future) of my personal feelings of being on the outside looking in in terms of sophisticated musical tastes (think: Journey vs. The Police) make me a little nervous about introducing a song by LRB into the mix. Admittedly, this is the group that brought you Happy Anniversary, Baby. They were hit & miss, for sure. But I can't run away from myself. And I can't deny to myself that this is about as good as it gets for me. I love this song. I love everything about it, and so I'll talk about lots of it. I love Glen Shorrock's voice. He was born to sing That Round Sound. Just wailing around "I wanna build my world around you!" More electric piano jazz chords in this song. Let me know if you don't get what I'm talking about. I'm not sure I'm defining them correctly, but it's sort of a dissonant (definition: sounding right, but not quite right) little chord of 2 notes. These things are used constantly in this song, under the main verses. I love the little "dingity ding" electric guitar chords that move along with the rhythm. Precursors of Prince, almost - but much more mellow. When the strings come in: Wonderful! When the horns come in after "Glen Miller's band was better than before:" Wonderful! The jazzy harmonies - especially in the chorus - are reminiscent (so to speak) of Steely Dan harmonies - but they are used to more pleasing effect, I feel. Synchopated and trailing along. And I love that little drum fill going into the chorus. And I love the little ooo - woo - ooo harmony at the end of each chorus. And I love the guitars in harmony (makes me think of how 44 - during our "dripping with art" period of 1998 - had two guitars synched up in Orphose). Listen to how they move along and ascend for the few seconds between 2:15 and 2:20. Finally, the words: Just nice. Happy, a pleasant "I had a wonderful night with you, I'm feeling kind of sleepy, and kicking off my shoes" feel to them. And the muted trumpet solo for the last 45 or so seconds: love it. Gosh, I hope you guys like this song half as much as I do.

4. What You Won't Do For Love - Bobby Caldwell: Now, the year is specifically 1978. Dishwashers look up from their dishes. Dental patients wake out of their morphined stupor and sit up. Afro-ed pickup basketballers pull up short on their jump shots, and everyone just listens. This crazy little horn refrain that sounds partly muzak, partly children's song, and partly lounge act on a cruise ship has just hit their ears. And it won't soon leave their heads. Who is that black guy with the wonderful, soulful voice? Ha! He's not a black guy! He's a skinny, bearded white guy that looks more like Chris Elliot than any r&b singer you've ever known. He can definitely belt it out. A few "jazz chords" here and there, and a pretty cool noodling-around electric guitar popping in from time to time, but what definitely steals the show is that crazy horn refrain! What were they thinking? Is it like some Manchurian Candidate trigger that failed to deliver? We'll never know. But I always loved this song, just managed to track it down a few years ago, and now it's happy to be featured as track #4 on That Round Sound.

5. Little Jeannie - Elton John: Those who know me best in the world may have already been capable of answering a multiple choice question on a quiz about me correctly, if asked what my favorite Elton John song was. That it is, and has always been, Little Jeannie says much about the place in my heart That Round Sound has. I remember hearing this song (interestingly, a sans-Bernie Taupin effort) on a jukebox in a Happy Joes in 1980. One of my earlier concrete pop memories. I loved it then, though the saxomophone may have not grated on me ever so slightly at that time, as it does now. I LOVE the idea of asking someone to be your acrobat before asking them to be your lover. And then the gall to add "...and I've known quite a few." Wow. Elton John is one of those giants of rock I referenced before, and a guy who - along with fellow "piano man" Billy Joel - was amazingly willing to trade in his signature, traditional piano for an electric piano for a few years. Anyone else find that kind of crazy? For me, it works; as does much of the rest of the song. It's 100% E.J. from the late 70s to early 80s: uncanny pop sensibility, lush arrangement, and his trademark cadre of eunuchs joining in the fun about 3/4 of the way through.

6. Midnight at the Oasis - Maria Muldaur: Ok, anyone else miss this song throughout all the years of their life? I'm hoping so (so you can have, maybe, another "discovery"). It was apparently somewhat of a hit when it came out in the early 70s, but I first heard it - by chance - only a couple of years ago, on a female vocalist collection a friend made me. What a find! A little more pep, and perhaps pushing the boundaries of That Round Sound a bit, but I really wanted this gal on here (and more gals, overall, as they've been a bit underrepresented in CMC to date). Such a sexy, "come hither" tone to her voice & delivery - you can understand why she stood out a bit in the early 70s amidst, all those ugly bastards in Led Zepplin & CCR. She just barrels happily right on through this song about (forbidden) love with an A-Rab, utilizing about every non-PC stereotype in the book - but doing so in such an innocent and libertine manner that all is instantly forgiven. We'd all "go out to a sand dune, real soon," given the chance, would we not? I love the "club" feel of this song, the arrangement in general, and I really love the electric guitar. You only get hints at it throughout the majority of the song, until a truly inspired solo at 1:20. Gibbs: would you not agree that this solo is the kind of playing Mark A. (from old 44) could have done, were he to have been more disciplined? Anyway, here's an album featuring a picture of the guy that played the solo. It all makes sense. One last thing I love in the song: the ascending piano over the last 30 seconds of the song. I wish it would have kept going.

7. Arrow Through Me - Paul McCartney: Three of the four of you have received this song from me as part of the oft-mentioned (but for all I know, still-unheard) McCartpilation. Here it is again, this time demanding a response, if just a few words. Another Round Sound song in the hands of a master. Perhaps none of the other masters is quite the master that PM is, judging by some of his forays into new & experimental styles from electronica (The Fireman) to vaudville (Honey Pie) and a myriad of styles in between. Paul went for the 70s, big time. He loved the costumes. He loved the hair. And he loved the freedom to do a decade of music that could be blamed on pot. Anyway, check this video out:





It encapsulates every effing thing I'm trying to talk about here. Not many people would disagree with me that Paul McCartney is a musical genius. Many would disagree with me in my assertion that his genius is at work in this song. The arrangement is incredible! The keyboard-driven melody, the crazy little synthesized sounds that pop in occasionally, the echo he adds on "zero," the soulful singing & phrasing, and that surprising brass section that suddently jumps in, throws you over its knee, pulls your pants down, and spanks your bare bottom. I...just...love...this...song. And on top of it all - the video, above. So awesome, and so funny, at the same time. Here is a guy that want you to think everything he does is just going with the flow but who is so insanely interested in how he is perceived that it drives nearly everything he does. This is my hypothesis. I have much ethnographic, observational study to support it. Above, the video bonus. Here, the video penalty:




8. Blue Bayou - Linda Ronstadt: Another artist with whom I have a bit of a love-hate relationship. At her best, her sweeping, beautiful voice (and hot pants in the late 70s) stir me in an amazing way. At her worst, she leaves a battered and abused trail of country & western classics in her clumsy wake. This is at her best. I remember this, as I do many Round Sound songs, as one that wafted over me in my own little world: my between-the-suitcases nest in the back of the station wagon on cross-country trips back in the day. It was in my adult years that I started to really groove on some of Linda's songs: Long, Long, Time and Maybe He's Right, among others. I love the sparse arrangement of this song. It really makes Linda's voice stand out. It also really highlights the awesome harmony (possibly done by Don Henley - who can do nothing if not awesome harmonies - but I'm not positive).

9. Sara Smile - Hall & Oates: Some legendary artists chose to adapt themselves to the Round Round of the 70s. Others could only survive within it. Happily for them, H&O managed to put together a respectable and solid array of fine music before losing their way in the early 80s. I could have taken a bit of my pick for a track to select to represent them here, but this song - not one of their super hits (or was it? I don't know), really captures the flavour of That Round Sound, with it's lazy, noodling feel and lush arrangement. I've never been able to sing like Darryl Hall did when he was really on, but man, oh man, I wish I could. Lyrics not really anything to set the world on fire, but I do love "If you feel like leaving, you know you can go/But why don't you stay until tomorrow" Hmm. It doesn't look so great, written out. Maybe it's the phrasing. Oh, and - we've all thought it, but I'm going to just say it: What's the deal with Hall & Oates? Shouldn't it really just be: Hall?

10. Don't it Make My Brown Eyes Blue - Crystal Gayle: OK, this was really an 11th hour waffling. Between Billy Joel's Just the Way You Are, which had Round Sound credentials in spades; and this one, which was more of a risk in terms of CMC popularity, but which was a song with which I ultimately felt everyone was less intimately familiar. So, another beautiful, pop crossover country queen - but this one with incredibly long hair. Though the hair has nothing to do with the song, it should be noted that - as a male - I am not immune to that special something that the female voice can add to a song. It doesn't mean I'm being unfaithful to my wife, but something somewhat reptillian is definitely triggered in me by certain phrases, inflections, and intonations by certain female singers. This song includes a few of those moments for me. To point out the moments specifically would be so intimate as to be embarassing, so I will leave that to your imaginings. I do love the jazz lounge flavor of this song, if not the rhyme schemes (blue/you, gone/long/, cry/goodbye et. al). I do love the skippy hotsticks of drumming and the piano that is used in conjunction with the electric piano. And I like that the song is short and sweet. She pretty much just gets across that her brown eyes are blue a couple of times and the song is done.

Excutive Summary: Again, a bit of a departure, in that I'm including a number of certified "hits" this time around. Most of you will likely be famliiar with 7 or 8 (or more?) of these songs. For the ones you know, of course I am hoping there will be a bit of a "hearing it again for the first time" type of feel. It would be great if there were a song here and there that you felt you could appreciate on some level that maybe you had never given a thought before. But my real hope? Is that you understand the the difference between some plain old bullshit 70s collection you could pick up on a Target endcap, and what I'm giving you here. This isn't about the decade. It's about the sound, and definitely a sub-genre within the genre. Sharon's heard me talk about That Round Sound enough and play enough songs that when I ask her "Is this 'The Round Sound?", she's right on with my way of thinking almost every time. So there's got to be more to it than my own delusional madness. Anyway - I'm just hoping you get the distinction. Let me know in your comments, if you can.

Thanks, folks.