For your consideration, I submit yet another song from my forthcoming album “Funeral Business.” “Heart On My Sleeve” is a moderately paced romantic dance rock song that I am very proud of. The lyrics were all true to my heart, written during a lonely time last year when I extra pathetic, giving it the double layer of heart broken authenticity. The music has that crunchy minor key harmonic wistfulness that I love, and the guitar solo by Andrew Lee soars and roars, but what else would you expect if you’ve been following along? Again, the stunning artwork was provided by Sonia Rapaport, including the sneak peak preview of the upcoming album art for the whole LP. I’m really excited about all this music and art I have laying around, just waiting to find its fans the world over. I hope you enjoy it. All the best, Willie.

Are you OK? Did you survive the wrath of Hurricane Sandy? Somehow, in the middle of Brooklyn, I managed to hold onto power, internet, and hot water, a real miracle. I had never heard more menacing and frightening winds ever in my life. It was quite the experience. Well, I hope you are fine, and I hope you’d like to hear some new music. I wrote “The Necrophiliac” a long time ago in 2006, and like many songs I made in that era, when I was still learning how to be a good musician, it sat on the shelf. I always loved the pulsating rhythm and manic harmonized vocals, so I dusted it off for a remake. Like a lot of my recent releases, it fits in perfectly with the spooky season of Halloween, and is PERFECT for all your dance parties. The beautiful artwork was provided by Sonia Rapaport, and if you’d like to see more of her brilliance, just click on her name there, and you can explore her wonderful online gallery. The incredible rough and rumble guitar solo in the middle of the song was provided by my great friend, Matt S., who moonlights as a wanna Keith Richards when he’s not affecting government policy down in DC. Much thanks to him and his VOX sound-station.  So please, give a listen, I think you’ll like it, and lastly, I offer this one DISCLAIMER: The song “The Necrophiliac” was intended for artistic parody only. I do not support, endorse, or necrophilia or necrophiliacs of any kind. Having sex with dead things and corpses is horrible, and should never be attempted, or even thought about, may God have mercy on your soul.

The year was 1966.  Bobby Fuller was a 23-year-old Texas rocker, riding high off the chart topping success of “I Fought the Law.”  He had moved out to California, been experimenting with LSD like the rest of his generation, and then suddenly, he died.  How?  Why?  Nobody is really certain to this day.  He was found dead in Hollywood, in his car.  Authorities found his body covered in petechial hemorrahages, unsightly red and purple marks caused  by exposure to gasoline vapors.  Some figured he must have guzzled gasoline, and the cops ruled his death a suicide.  Others say it was murder, with speculation ranging from Charles Manson to a nefarious LAPD coverup due to Fuller’s involvement with mafia women.  Whatever happened, his tragic death ended an incredibly promising career.  Fuller was a remarkable beautiful singer and songwriter with a bright and driving sound of joy.  In many ways he seemed like the heir to Buddy Holly’s legacy.  Like Buddy, Bobby was also a brash rockabilly Texan.   Bobby even got famous off a song Sonny Curtis wrote, the guitar player in the Crickets, Buddy Holly’s band.  “I Fought the Law” is just a fantastic piece of pure rock and roll.  As catchy and addictive as rock and roll gets, the song has mutated through different rock genres over the years, most famously by the Clash’s punk rock take on it.  I like the Bobby Fuller version the best, and the video below is a monument Bobby’s brilliance and talent.

Anyone lucky enough to see Wes Anderson’s “Fantastic Mr. Fox” has heard Bobby Fuller’s incredible rock and roll classic, “Let Her Dance.”  The song is just full of joy.  The ultra catchy background vocals bleat incessantly, Bobby Fuller’s lead vocal is drenched in the kind of echo you get from singing at a drive in movie theater, and the guitars just fill up your ears with the sweetest combination of nostalgia and fun.  The video below, introduced by Gene Weed, (who I like to think of as the original Gene Ween) captures Bobby and his boys rocking their hit song in the middle of a mob of teenagers and go go dancers.  Its the true highlight of the video, because you also get to here a take of “Another Sad and Lonely Night.”  That song is standard 60s pop fair, and no where close to the majesty of “Let Her Dance.”  Tomorrow, I’ll have one more Bobby Fuller classic, and detail the rockers tragic and mysterious death at the height of his powers.  For now, I personally cannot stop repeating “Let Her Dance.”

Oh the hits keep rolling for Hall and Oates.  “I Can’t Go For That (No Can Do),” was a #1 for Daryl and John in 1981, and another track that set the tone for 80s pop.  Their embarrassing cover art for the single also help set trends of decadent ugliness for the 80s as well.  Pop music from the 1980s had many uniting broad themes from futurism, celebration, dark sexuality, and paranoia.  “I Can’t Go For That” has those trademarks in spades.  It also holds the distinction for being the first song by a non-African American group to top the R&B charts.  Daryl Hall, the songs primary writer, was most pleased with this achievement, stating, “I’m the head soul brother in the U.S.  Where to now?”  Good question.  One direction led to an even bigger hit, Michael Jackson’s “Billie Jean.”  Michael admitted to Daryl that he copped the bass line from “I Can’t Go For That” for his own ultra-smash hit, to which Daryl replied, ‘I took that bass line from someone else to begin with, and that it’s “something we all do.”‘  That reminds me of another theme in 80s pop, superstar collaboration.  It’s as if their was one continuous party of mega rich famous rock stars, who all inflated each others egos, and played on each others records.  Heady times, heady coke fueled times indeed…

I never thought I’d be adding a “Hall and Oates” section to my website, but on December 17th, 2011, it apparently has happened.  Actually, I’ve been slowly enjoying Hall and Oates a bit over the last few years, getting hooked on the single “I Can’t Go For That,” and hearing a fantastic sounding Daryl Hall on the Howard Stern show a few weeks ago.  The song in the cross-hairs today is “You Make My Dreams Come True,” a top ten hit from 1980.  It has popped up irrepressibly in a bunch of modern Hollywood movies and TV shows including “500 Days of Summer,” “Step Brothers,” and “King of the Hill.”  The song just makes people happy and want to dance, and I’m tired of denying its power.  I’ve come to have embrace its gorgeous keyboard/electric guitar attack rhythm section and blue eyed soul vocal delivery.  That addictive and high pitched guitar stutter reminds me of the Beatles’ “Getting Better,” possibly the happiest song of all time, and its doo-wop heavily processed backing vocals make it a total 80s classic, paving the way for the general sound of 80s pop.  So, in conclusion, my advice is this; turn this song up to 11, pour some lemonade, and play this song 4 times in a row.  Hall and Oates, FTW.