The modern playlist is the descendant of the mix tape. And like my mix tapes, I make a significant effort to make sure they are right—and by right, I mean that there is a certain cohesion and shared texture that inspires me. What I love about digital versus tape is the great flexibility for experimentation (though, sometimes I do miss walking around Manhattan with my old yellow cassette Sports Walkman). The playlist featured in this blog entry was easier to compile because it features one artist.
Amy Winehouse. I still miss her.
It has been nine years since she passed away and I often contemplate her missed potential. She was concurrently gruff and tender, but soulful and true. If you think about the state of the pop scene when she rose to prominence, she was a truly authentic voice, not a manufactured cookie cutter. She was the real deal.
She only gave us two albums (Frank and Back to Black), but they were nothing short of extraordinary. A posthumous compilation album (Lioness: Hidden Treasures) was released that contained unreleased songs and a new one that was completed by Nas.
I put this playlist together in January of 2012 and have not changed it once. It is one of the few playlists I have ever gotten right on the first try. The first time I listened to it was on the express bus home and I arrived at my stop just as the last song was playing. I remember I got off the bus and stood there until the song finished. And even after it was over, I stood there for another minute in silence.
The last song on this playlist is “Love is a Losing Game.” I consider this to be her masterpiece. And while this song is indeed an achievement in songwriting, arrangement, recording, and voice, I will always wonder about what could have been.
Since the video became a ubiquitous part of popular music nearly forty years ago, it has sometimes struggled as an art form. The marriage has not always been harmonious: sometimes you have great songs with mediocre videos and vice versa. What I have always appreciated about it, when it does approach art, is that a story or message can be conveyed without the constraint of a script, spoken word, or even the lyrics of the song.
Madonna, who rose to prominence during the early years of the music video, has produced a stunning body of work in both video and song. However, in the last decade, this has not been case; she seemed more occupied with collaborating/cannibalizing younger recording artists and touring than producing thoughtful work. Thankfully, she has returned to form with “Dark Ballet.”
The song and video are essentially a pop version of the opera by Tchaikovsky, The Maid of Orleans, which tells the story of Joan of Arc. Interestingly, this is not Madonna’s first time exploring Joan of Arc in her work: in her last album, Rebel Heart, she had a song titled “Joan of Arc.” In my review, I noted it as the most irritating song because she was essentially complaining about being famous and I questioned what that had to do with Joan of Arc.
“Dark Ballet” is told from Joan of Arc’s point of view. In the brilliant bridge of the song, set to a pulsating electronic arrangement of Tchaikovsky’s “Dance of the Reed-Flutes” from The Nutcracker, Madonna speaks:
“I will not denounce the things that I have said I will not renounce my faith in my sweet Lord He has chosen me to fight against the English And I’m not afraid at all to die ’cause I believe him God is on my side and I’ll be his bride I am not afraid ’cause I have faith in him You can cut my hair and throw me in a jail cell Say that I’m a witch and burn me at the stake It’s all a big mistake Don’t you know to doubt him is a sin? I won’t give in”
The video is book ended by quotes, with one by Joan of Arc and another by queer poet and activist Mykki Blanco, who was cast as Joan of Arc in the video. Madonna is surprisingly absent except for a very brief cameo. Blanco gives us some incredible acting here. I also can’t heap enough praise on the cinematography, production, and direction by Emmanuel Adjei (he is one to watch).
And while the song and video is about Joan of Arc, it feels as if Madonna and Adjei are also addressing the toxic mix of bigotry and religion that pervades the world: too many people use religion to justify their prejudices and fears.
Madonna’s pop version of the opera The Maid of Orleans is “Dark Ballet.”
The modern playlist is the descendant of the mix tape. And like my mix tapes, I make a significant effort to make sure they are right—and by right, I mean that there is a certain cohesion and shared texture that inspires me. What I love about digital versus tape is the great flexibility for experimentation (though, sometimes I do miss walking around Manhattan with my old yellow cassette Sports Walkman). The playlist featured in this blog entry was easier to compile because it features one artist. I first created my “Best of Basia” playlist in 2005, and have updated it with each new album.
I have been a fan of Basia since 1990, when she released her second solo album, London Warsaw New York. I became aware of her because of her superb cover of “Until You Come Back to Me.” I remember using one of the listening stations in Tower Records to listen to the album, which I purchased on vinyl. London Warsaw New York had other remarkable songs such as “Cruising for Bruising,” “Brave New Hope,” and “Baby You’re Mine.” Four years later she followed up with the brilliant The Sweetest Illusion, which features, what I consider to be her masterwork, “Yearning.” Around this time, I finally picked up her first solo album, Time and Tide, which features the title track as well as “New Day for You.”
In 1995 Basia released a live album, Basia on Broadway— a vocal tour de force! Three years later, she released a greatest hits album with several new songs.
Basia would reunite with her Matt Bianco bandmates (her first band) in 2004 on Matt’s Mood and finally release another solo album in 2009 with the beautiful composed and arranged, It’s That Girl Again. Her latest release is Butterflies, which is nothing short of outstanding. I recently updated my Best of Basia playlist to include tracks from Butterflies. Let me know if you like this combination!
“If Not Now Then When” from It’s That Girl Again
“I Must” from It’s That Girl Again
“From Newport to London” from Newport to London
“Matteo” from Butterflies
“Just Another Day” from Peter White’s Caravan of Dreams
“From Now On (Live)” from Basia on Broadway
“Half a Minute (Live)” from Basia on Broadway
“Yearning” from The Sweetest Illusion
“There’s a Tear” from It’s That Girl Again
“It’s That Girl Again” from It’s That Girl Again
“Liang & Zhu” from Butterflies
“Butterfly” from Butterflies
“Waters of March” from Clear Horizon
“Go for You” from Clear Horizon
“Astrud” from Time and Tide
“Where’s Your Pride” from Butterflies
“Baby Your Mine” from London Warsaw New York
“The Prayer of a Happy Housewife” from The Sweetest Illusion
“An Olive Tree” from The Sweetest Illusion
“Reward (Live)” from Basia on Broadway
“Until You Come Back To Me” from Basia on Broadway
Not too long ago my best friend from college sent me a picture of a mix tape that I made for her in 1988 which she remarkably still has. I titled it “Past Tense” after a poem I had written back then. I lost the notebook where I had written that poem, but remembered some of the lines. I also remembered some of the songs on that tape, most notably on all of side a.
Social media humor.
The playlist is the descendant of the mix tape. And like my mix tapes, I make a significant effort to make sure they are right. What I mean by right is that there is a certain cohesion and shared texture; it takes me on a journey and inspires. What I love about digital versus tape is flexibility for experimentation. Though, sometimes I do miss walking around Manhattan with my old yellow cassette Sports Walkman.
Interestingly, I made some mix tapes that I thought were so good, that I remembered them and they now exist as playlists on my iPhone / iPod. I thought I would share some of my favorite playlists on my blog. Here is my first one called “E’s Spanish Jazz 3.” It mixes several Spanish language genres. It is also the third and my favorite version of the “Spanish Jazz” playlists. I have included links to YouTube so you can hear the songs for yourself and maybe add it to your own device.
The first time I ever played a record on my own was in 1972, when my parents bought me a compact record player that, when closed, could not be distinguished from a suitcase. Since I didn’t yet have any records of my own, I went to their collection and played a 45 of “Love Child” by The Supremes. On that day I became a life-long fan of The Supremes, Diana Ross and the now legendary Motown sound.
Over the last couple of years several Broadway productions have been mounted that pay tribute to favorite singers of mine, most notably, A Night With Janis Joplin and Forever Dusty. I have been hesitant about seeing these shows because I never saw these singers live. Of course I have seen videos, but they simply do not compare to seeing and hearing someone sing live. I feel a little left out. I remember being awed by a video of Janis Joplin’s electric performance at the Monterey Pop Festival. Interestingly, someone filmed Mamma Cass Elliot’s (who was an awesome singer in her own right) reaction to Joplin’s performance and she is visibly blown away, her lips silently saying, “Wow!” I initially had mixed feelings when my sister, a fellow Motown devotee, gave me tickets to see Motown: The Musical. I wish I could have seen Marvin Gaye, Mary Wells and, of course, The Supremes live. Regardless of what I missed, I went in with an open heart and mind and was not disappointed.
Motown: The Musical explores a uniquely American institution, and its role in history. Motown’s cultural contributions are enormous and this show bears that out. Perhaps Motown’s greatest contribution is the way music brought people together; blacks and whites loved the music. The show does not shy away from issues like racism, segregation, poverty and war; in fact, the manner in which they are addressed felt quite germane. This was perhaps best depicted through Marvin Gaye’s timeless classic, “What’s Going On” —which was beautifully sung and performed by Jarran Muse, who magnificently captured Gaye’s sensuality, sensitivity and vocal power.
The actress playing Diana Ross, Felicia Boswell, had some big high-heel stilettos to fill. While she does not look like Diana Ross (many of the actors bore little physical resemblance to the people they were playing), she remarkably managed to capture the essence of Ross’ singing voice and, to an extent, her vibrant charisma. One of the most memorable moments is when the show re-enacts Ross’ first solo concert without The Supremes: singing “Reach Out and Touch” Boswell ventures into the audience bringing people on stage to sing with her. I have had debates with people who criticize Ross’ singing voice as weak—yes, it is not as strong as some of her contemporaries, but it is still rich, layered and vastly expressive. I have always been moved by her sincere singing in songs like “Mahogany” and “Touch me in the Morning.” Then there is Ross’ undeniable presence and star power—Boswell partially captures this, but “Ain’t Nothing Like the Real Thing.”
One of my favorite moments was when the audience meets The Jackson 5 for the first time. Raymond Luke, who played Michael Jackson, was nothing short of remarkable. The audience reaction was equally stunning: it was almost as if a young Michael Jackson was really up on the stage! Perhaps the most unexpected moment was when the audience meets Rick James, played with absolute bravado by Eric LaJuan Summers. All I can say is that you have to see it for yourself.
I was quite disturbed by Tracy McDowell’s attempt to recreate Teena Marie’s singing—-get a better singer or cut this song out! Another curious moment is when Florence Ballard (Allison Semmes) begins behaving unpredictably and Berry Gordy, ( Brandon Victor Dixon) says, “The pressure of fame is vicious. Not everyone can go the distance.” I could have sworn I heard a few bars of “And I am Telling You”, from Dreamgirls, played on the piano.
The show makes good use of the stage, successfully integrating set pieces with video. The costumes were colorful without losing period authenticity. The orchestra captured the Motown sound, making excellent use of tambourines, melodic electric bass-guitar lines, and orchestral strings.
Overall, I enjoyed Motown: The Musical and recommend seeing it. The music, singing and acting were excellent. However, at times it feels like there is too much crammed into this show. Gordy, who wrote the show’s book, seemed determined to mention every act from Motown’s long roster. Gladys Knight and the Pips were only with the label briefly, considered second string and found their greatest success after leaving Motown. Yet, they surprisingly make a brief appearance in this show. More than 50 songs are performed, many abridged, with the best presented in concert.
Gordy’s story is Motown’s story and both are truly notable and should be depicted onstage. However this show doesn’t quite do the story justice. Ultimately, this show is about great songs that have stood the test of time and will likely not be thought of in the context of this show. The songs, and those who sang them, firmly stand on their own.