CjK Guest Post – Summer Cover #10
I cannot imagine Johnny cash coming in of an evening and putting on the Nine Inch Nails, who originally recorded the song “Hurt”. The song clearly includes references to self-harm and heroin addiction, although the overall meaning of the song is disputed.
In this 2008 recording Cash is clearly ill and his condition has an added poignancy as he shows a video of himself in his prime. It certainly makes for an emotional charged video, which many refer to as his epitaph.
This track from 2013 discoveries Clear Soul Forces makes it two Detroit tracks in a row. I really like the simple hook and some impressive lyrical dexterity here.
Even though the Motor City may be ailing it’s music has shaped my playlist in 2013 just about more than anything else (and I don’t even mean Motown – this is an ever present that by now I take for granted).
Whether it is Theo Parrish, J Dilla, Black Milk or Moodymann it seems like a disproportionate number of Detroit artist have gotten my musical attention recently.
Clear Soul Forces:
I stumbled across this track from Detroit singer Dee Edwards over the weekend and it’s silky smoothness has been on my mind since. It has also been way too long since I posted some soul.
Every once in a while when I find the time I very much enjoy listening to the Sinner’s Crossroads show on the wonderful WFMU radio station. It features “Scratchy vanity 45’s, pilfered field recordings, muddy, homemade congregational tapes and vintage commercial gospel throw-downs: a little preachin’, a little salvation and a little audio tomfoolery…”
It was listening to the last week that I came across this track, from 1950. I found it’s raw, fervent energy to be utterly spellbinding.
What I really find interesting about this track (and especially the video) from Congolese artist Fredy Massamba is how American it seems. It is like American (or maybe French, like blog favourite MC Solaar) hip hop culture transplanted to Africa, so completing a cycle.
I heard this for the first time in ages a couple of days ago. I grew really tired of it after hearing it way too much after it’s 2006 release. But hearing it afresh I remembered it’s just a great pop tune with classic Scandinavian sound.
It is taken from Peter, Bjorn and John’s 2006 album Writer’s Block.
Peter, Bjorn and John:
I don’t know too much about rising L.A. singer Banks, having discovered her earlier in the week via the Guardian’s New band of the day series. The word that comes to mind here is sultry and it’s certainly very catchy. Is she an American version of Jessie Ware?
CjK Guest Post – Summer Cover #9
What’s not to like about a song that seems to start with some one reading the German railway timetable? Jennifer Warnes recorded an album called the ‘Famous Blue Raincoat’ to bring her take on Leonard Cohen‘s song in 1987.
She cannot match Cohen’s low menace in ‘first we take Manhattan then we take Berlin’, which may mock German terrorist of the time, but she does rattle along well in this version.
Jennifer and Leonard:
I am an unashamedly massive Prince fan. The man has as much game musically than just about anyone I can think of.
This gem is taken from 1981’s Controversy. He just brings the funk.
This song came on my MP3 player while walking home from work this evening and I was immediately transported back to 2005. Despite the fact I have loved it since then I hadn’t gotten around to posting it until now.
It is taken from Irish singer Róisín Murphy’s (formerly of Moloko fame) debut solo album Ruby Blue. It is playful, sultry and hypnotic which is a heady combination.