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…

The Kinks.  I love them.  I love Ray Davies, the writer of this song, “Autumn Almanac,” an absolute stunning piece of musical genius from 1967.  A lot happened in 1967.  It was the year when the Beatles released Sgt. Pepper to critical and international fame, when Jimi Hendrix was revolutionizing the use of the electric guitar, and when the world’s youth was dropping acid and dreaming of the future.  Ray Davies was thinking of the past; of autumn days, his old school notebook, hiking in the woods, and Sunday dinners.  There is no better writer of nostalgic pop then Ray, and this song is his shining anthem to that feeling.  At his creative height, Ray challenged the Beatles in terms of melodic brilliance and was as good as Bob Dylan in creating emotive original lyrics.  He was that good, and “Autumn Almanac” is one of his best songs and greatest examples of his powers.  The song is a stream of consciousness, both lyrically, and melodically, but its not without coherence, form, and beauty.  The song exists at the limit of creativity a person can achieve with an acoustic guitar writing in the pop song format.  I hope you enjoy it.

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.

R.E.M. broke up yesterday, but worry not, because Athens, Georgia rocks on with their other native sons, Of Montreal.  Of Montreal, famously not “of Montreal,” hail from R.E.M.’s hometown too.  Kevin Barnes, the group’s extroverted introvert genius front man, is peculiar guy.  When he broke into music, his talent wasn’t entirely assembled.  His early home record, Cherry Peel, is pretty terrible.  The only redeeming feature was  the strange lyrical sense.  It mixed a sublimely inspired high brow thing with an almost crass vulnerability.  Even though his early records weren’t great, Kevin kept plugging away, churning out song after song, and record after record, becoming one of the most prolific artists in rock and roll.  Along the way, his talent skyrocketed, and most of Of Montreal’s records were entirely recorded by him, and featured stunning melodies, complex arrangements, and a mashing together of styles that was bold and futuristic.  My favorite Of Montreal record was 2004’s Satanic Panic in the Attic, a modern day Sgt. Pepper if I ever heard one.  That album launched Of Montreal into the mainstream of indie rock, and they have capitalizing on its success ever since, crafting an outrageous David Bowie and Prince inspired live show, and headlining shows all across the world.  The first two songs are from the aforementioned album, and the last one, “Art Snob Solutions,” was a bonus cut from The Sunlandic Twins record that followed in the next year.  These are my favorite Of Montreal songs, and not only reflect the spirit of Elephant 6’s desire to bring vintage Beatles psychedelia back to life, but Barnes’s own dreams of writing hits and becoming a modern day rock star.  Since the middle part of the last decade, Of Montreal has veered towards a more experimental funk disco oriented sound, away from their 60s British roots that I love, and they have become an object of profound love or hate.  Again, like Neutral Milk Hotel, I fall somewhere in the middle, not entirely digging their newer stuff, but not dismissing them at all due to my knowledge of the supreme accomplishments Kevin has achieved with his group.  He is just following his muse down a path where the one rule seems to be, “don’t repeat yourself,” and its a creed I wished more artists would live by.

How about that keyboard reflecting in Ray Charles’s sunglasses?  That’s rock and roll, or more specifically, the blues.  This legendary scene, from the “Blues Brothers” movie, is and irreplaceable document of blues rock awesomeness.  The Blues Brothers were a group formed by Dan Aykroyd and John Belushi, two SNL geniuses who loved the blues and came up with this brilliant concept for a Chicago based blues group.  The dark suits, hats, and shades are icons of TV and movie magic.  It’s just another example of the insane role that the likes of Aykroyd and Belushi were on in the late 70s/early 80s when it came to dominating the coolest ideas of global comedy.  The original Blues Brothers band consists mostly of the first SNL band, and they really cook.  It’s a reminder of how huge SNL was in the late 70s that even the band members got starring roles in a blockbuster feature film.  The movie, directed by hot 80s director John Landis, is a crazy car crashing romp of great music and fantastic dance sequences, evidenced below.  Check it out.

Welcome to part 89 of my legendary youtube countdown.  Countdown to what?  I have no idea, but lets hope the world finds peace along the way.  One way to help this planet on that quest are the musical stylings of Paul McCartney and Stevie Wonder singing “Ebony and Ivory” from Paul’s 1982 LP Tug of War.  By the way, pick up Tug of War if you see it sitting dusty in a record store.  It’s one of Paul’s better 80s albums produced by the legendary Beatles George Martin no less.  That record also features Paul’s tribute song to John Lennon, “Here Today,” a track I might cover in the future.  Anyway, Paul wrote this mega hit “Ebony and Ivory” after hearing an old Spike Milligan phrase, “black notes, white notes, and you need to play the two, to make harmony folks!”  Well, the phrase is right, and the song is true.  Paul and Stevie performed the song live in studio, which is always a cool yet difficult feat.  Ironically, due to scheduling conflicts, they had to film their parts in the music video separately.  It’s an amazing feat, considering they are sitting next to each other, but its just camera trickery folks.  What IS true is that they both traveled to Bolivia to dance on the world’s largest piano. ; )

Welcome to part 88 of my youtube countdown!  Today I have a beautifully rare studio take of Bob Marley singing his 1980 masterpiece, “Could You Be Loved,” from Uprising.  This is probably my favorite Bob Marley song for those keeping score at home.  It has everything I love in a Marley song; that driving irresistible reggae rhythm, philosophical lyrics about love and self worth, and a perfect-genius-catchy melody, (a P.G.C.M.)  This video cuts Marley signing a rough vocal crossed with shots of him and others playing some soccer in Jamaica, Bob’s other passion.  This is one of those clips where a video is worth a million words, so just watch.  P.S., I got a secret internet wish.  If someone has an extra pair of the headphones Bob is sporting in this vid, please don’t be shy, and mail me a pair.  Just email me.  ; )

Part 39 of my youtube countdown is loaded with star power.  In it, you’ll see a Prince, a King, and a Godfather, the Holy Trinity of R&B, dance, funk, and soul.  In 1983, at a James Brown concert, we have the Godfather calling to stage the King of Pop in all his pre-insane person glory.  Michael Jackson gets up, sings a bit, then busts out some dance moves that just flatten the world with their perfection.  The first video presents James and Michael in crystal clear beauty.  Michael does some spins, some incredible James Brown-esque footwork, and throws in his moonwalk.  Just amazing.  Clip 2, sadly of lesser quality, covers the Michael performance again, but also includes the introduction of Prince to the stage.  Now, this was bizarre.  Prince, who seems high as hell, is carried to the stage by a bodyguard in full out foppish dandy boy mode, straps on a guitar, and plays a pretty terrible solo.  But, no matter, this moment is too amazing to ignore, or to criticize really.  It’s doubtful that this much talent, funk, and soul will ever grace a stage ever again.  Enjoy this eternal moment.

For part 38 of my youtube countdown, I have another fantastic George Harrison duet.  This time its with Paul.  No not McCartney, but SIMON!  This version of George and Paul tackle George’s incomprehensible 1969 stunner, “Here Comes the Sun.”  The occasion was Saturday Night Live and the results were breathtaking.  George hits all his acoustic marks with perfection, and Paul Simon’s voice just melts perfectly into George’s harmony.  The freaky thing about the video is how Paul Simon keeps looking at George like he wants to take him to bed, or more likely, create a new group called “Simon and Harrison.”  But George wasn’t about to be stuck with another Paul telling him what type of guitar solo to play on “Still Crazy After All These Years.”  So, instead, like with most of rock and roll history, we just have singular moments, and here’s a good one, enjoy.

UPDATE 10.20.13- YouTube/Google disabled embedding this video but you can click here to watch the performance! (Willie)

Part 33 of my youtube favorites countdown continues with The Police’s excellent music video for “So Lonely.”  Released in 1978 from their brilliant Outlandos d’Amour album, “So Lonely” is an example of their classic punk/reggae hybrid formula.  Sting went so far to say that the chorus was ripped directly off of Bob Marley’s “No Woman No Cry.”  I don’t hear it.  I also can’t really hear the punk in this song so much.  I mean, I’m sure in 1978, this was probably considered punk, but come on, its pop, power pop, and there is nothing wrong with that.  In fact, I love the gasoline charged chorus, which is incredibly catchy and resonant.  Sting was such a genius writing songs about heartbreak, anger, and breakups.  Anyway, in the video, we have the Police on a Japanese subway, which is ALWAYS a great place to film a music video.  I think its really rad, and I think you will too.  Enjoy.