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.

Before Michael Jackson, before Justin Bieber, there was Frankie Lymon.  Well, Frankie Lymon and the Teenagers to be exact.  Frankie is the original rock and roll prodigy, a 13 year old backup singer from Harlem who by a stroke of fate stepped in to sing lead for his vocal group the Teenagers when original lead vocalist Herman Santiago caught the flu on their crucial audition day.  Even when Herman got better, it was no contest, Frankie was the goods, blessed with the voice of a rock and roll angel, annihilating audiences with his golden pipes.  When Frankie and the Teenagers became a smash, they hit the road hard.  Frankie was dating 25 year old women, smoking cigars, drinking booze, and using heroin.  He ended up marrying 3 women, without divorcing any of them, losing his front teeth, joining the army (well he was sentenced to join by a judge) and then quickly dropping dead in a NYC bathroom at the age of 26.  Frankie burned out quickly, but his voice and songs live on.  “Why Do Fools Fall in Love,” and “Little Bitty Pretty One,” are testaments to inhuman voice, a voice he lost quickly when puberty hit.  I guess he was basically one of the early prototypes for childhood stars who got success too quickly, and turned to drugs in an effort to destroy their lives.  It’s hard to imagine a time when the songs below rocked hard, but at one point they did, so give em a play and let Frankie’s voice soar one more time.

Two songwriting icons passed away yesterday, and ironically, both were halves of legendary songwriting teams.  Nick Ashford, legendary Motown songwriter, who was paired with his wife Valerie Simpson, died at 70 in Manhattan.  Jerry Leiber, partnered with Mike Stoller, co-wrote some of Elvis Presley’s greatest hits, died at 78 in Los Angeles.  Among Ashford’s greatest hits were “Ain’t No Mountain High Enough,” and “Ain’t Nothing Like the Real Thing,” displaying his mastery of the word “ain’t.”  Leiber and Stoller churned out “Hound Dog,” “Yakety Yak,” “Jailhouse Rock,” and “Stand By Me.” Both Ashford and Leiber were beloved geniuses of their craft and produced songs that are etched like concrete in the public’s minds.  It’s a sad day, but on the sunny side, the great  thing about dying a master songwriter is that your music truly lives on, leaving the perfect memorial.  My little memorial comes in the form of Ben E. King’s rendition of “Stand By Me,” and Marvin Gaye and Tammi Terrell’s version of “Aint No Mountain High Enough.”  Oh, and just a reminder, click here and you can vote for me every day for CBS’s Most Valuable Blogger where I am a finalist!  Thanks!

Part 85 my soul people, back with more Marvin Gaye like I promised.  This time, its a special performance of “Sexual Healing,” sung live at the 1983 Grammys.  This was Marvin’s last worldwide smash hit, eventually peaking at #3 on the Billboard 100 after dominating the R&B charts.  There is a lot of tragedy and joy to be found in the creation of this record.  It’s a reflection of Marvin attempting  to embrace a healthier more peaceful life through sobriety, exercise, and uh..sex.  Sadly, just as he was in the midst of his triumphant comeback, he was gunned down by his father in one of the more bizarre rock and roll assassinations.  It reminds me a lot of John Lennon’s demise after he completed Double Fantasy. It’s really painful to think of the three icons; Marvin Gaye, John Lennon, and Bob Marley, all dying in the early 80s.  They left a tremendous void.  Anyway, this song was almost entirely produced by Marvin himself outside of the rhythm guitars.  It’s a true masterpiece that touched on elements of doo-wop, snythpop, reggae, funk and gospel.  This performance, a lot like the song, is a triumph.  Marvin reminds the music elite that he is an absolute God, taking them to school by defining what pop music is and can be.  RIP Marvin.