Write on Music's Favorite Songs of 2014

Better late than never, here are Write on Music’s favorite songs from last year (in alphabetical order):

Amy LaVere – “Last Rock ‘N’ Roll Boy to Dance”: Inspired by her own adolescent exploits on the lam, this Memphis singer/songwriter and upright bassist turned out one of last year’s most imaginative, musically adventurous albums, Runaway’s Diary. Songs by Townes Van Zandt (“Where I Lead Me”) and John Lennon (“How”) help to tell its story, but its finest moments – like this scene-stealing selection – are of LaVere’s own making.

Angela Moyra – “Bubbalu”: From this Dutch singer/songwriter’s charming debut LP, Fickle Island, this little ditty about a crush is so adorable it’s easy to forget that it’s really a lovelorn lament. Hurts so good, indeed.

   

Bruce Springsteen – “Harry’s Place”: The Boss’ most recent LP, High Hopes, inspired generally mixed reviews among fans and critics – except for Rolling Stone, which deemed it better than every other album released in 2014 save for U2’s similarly polarizing Songs of Innocence. Still, the album has its moments, like an electrified version of “The Ghost of Tom Joad” (featuring Tom Morello’s scorching guitar) and this song, which had been in the works for years and reflects an urban, edgier sonic perspective of Springsteen’s songwriting.

Cat Power and Coldplay – “Wish I Was Here”: This one (from the Zach Braff film of the same name) is so empathetic and universal it’s almost a wonder that it hadn’t been written before. “Every road that’s wrong feels like the road I’m on,” Chan Marshall sings like she knows the feeling all too well. Maybe you do, too. 

Coldplay – “Oceans”: For those who were perhaps disoriented by Coldplay’s more experimental efforts over the last six or seven years, Ghost Stories recalls some of the melodic, piano-rich balladry of earlier albums, Parachutes especially. This song in particular, enriched by an almost spectral intimacy and Chris Martin’s angular falsetto, is among its most intoxicating highlights.

Eilidh McKellar – “Home”: Hailing from Edinburgh, Scotland, this burgeoning guitar prodigy summons a mother lode of moxie and musicianship on her remarkable debut LP, Delta Devil Dreams. With this song in particular McKellar not only displays her rich, ribald guitar playing and honeyed vocals but also an endearing melodic disposition.

Jenny Lewis – “Love U Forever”: There has always been something irresistibly quirky about Jenny Lewis, a quixotic mix of understated musicality and narrative chops that at times includes fun bits of kink and blunt confession. Maybe this song is about a lifelong love affair, but you can dance to it even if it’s not.

Jessie Ware – “You & I (Forever)”: With her second album in two years, Tough Love, Ware has proved her debut (Devotion) was no fluke. This lovely song is among its highlights, and it features the most charming video you’ll see all day.

Johnny Marr – “Dynamo”: The former Smiths guitarist and all-around six-string wizard expanded his sonic canvas for his second solo LP, Playland, illustrated here by what Marr described to described to Write on Music as a love song originally written about a building. “But it was important to me that it felt like someone could sing it to a person who they love,” he added, “romantic love, family love, anything really.” Mission accomplished.

Kasey Chambers with Bernard Fanning – “Bittersweet”: The unflinching honesty expressed in this one is damn near chilling, and its video – shot in one take, ostensibly portrayed by children each representing Chambers and Fanning’s narrators – does little to break the tension or heal the heartache.

Leonard Cohen – “Slow”: Brandishing his old poet’s phonetic authority and a knowing, implicit nod to erotic metaphor, the world’s sharpest-dressed octogenarian heralds the virtues of taking one’s time.

Lera Lynn – “Lying in the Sun”: While the Nashville-based singer/songwriter’s recently released second LP (The Avenues) is currently earning rave reviews, the title track from her previous EP release is just too damn good to overlook. Lynn’s singing on it is breathtaking, her voice coming on as sultry as a slow Southern sunset.

Lily and the Tigers – “Just a Memory”: This aching, mournful gem is but one of the standout moments on the Atlanta, Georgia trio’s masterful LP, The Hand You Deal Yourself. “I definitely was listening to a lot of Otis Redding at the time,” lead singer and principal songwriter Casey Hood told Write on Music last year of the song’s conception. “I love soul and R&B music and Motown.” It certainly sounds that way.

Lucinda Williams – “West Memphis”: The alt.country icon shines a light on the case of the West Memphis Three while a raw, wicked groove sputters and snarls beneath her breath. Consider it a sort of conviction conniption, if you will.

Marissa Nadler – “Firecrackers”: There are artists who sing for you and ones who sing to you, touching a soft spot while your guard’s down to remind you you’re alive. Nadler is of the latter distinction. From her sublime LP, July, this song is utterly exquisite.

Nicole Atkins – “The Worst Hangover”: This stone-soul throwback appears on Atkins’ latest album, Slow Phaser, which is not only the culmination of a gifted artist coming into her own but also the best work of her career to date. 

Priscilla Ahn – “Diana”: With her third LP, This is Where We Are, Ahn signalled a shift, if not a complete departure, from the acoustic-informed aesthetic of her earliest recordings while this, the album’s sensuous opening track, sets the tone. 

Sharon Van Etten – “Nothing Will Change”: Van Etten summoned a tour de force with her 2014 LP, Are We There, translating often intense, personal introspections into universal revelations and, in songs like this one, delivering each lyric like a visceral, nerve-exposed soliloquy.

Tom Petty & The Heartbreakers – “Forgotten Man”: Stinging with anger and resentment, this one starts off sounding a little like “American Girl” but soon imposes its own ornery indignance on Hypnotic Eye, easily Petty’s best album in years.

Wilko Johnson & Roger Daltrey – “I Keep it to Myself”: Literally knocking on Heaven’s door, the iconic Dr. Feelgood guitarist sought to make one last album, on which The Who’s indomitable frontman was more than happy to join together with the man. As Johnson told Write on Music last year, the chemistry between the two was immediate. “Everybody got on well,” he added. “We just started working ferociously.” And the resulting album, Going Home, is invigorating...almost as much as the miraculous twist of fate that ultimately saved this beloved legend’s life.

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Do It Again: Top 10 Covers of 2008

Something intriguing occurs when an artist or band takes on someone else’s song. The interpreter may cover that song by adhering to hallmarks of the original version, but hopefully enough distinctiveness shines through to make it a worthwhile performance and not merely a facsimile. That said, here are ten of the best cover songs from 2008.

10) “See Emily Play” – Martha Wainwright
Album: I Know You’re Married But I’ve Got Feelings Too

Despite (or perhaps because of) his eccentricities and psychedelic excursions, Syd Barrett betrayed a childlike purity in his music. Putting her own quirky yet endearing spin on this Pink Floyd classic, Ms. Wainwright draws on that innocence in such a way that, if he were here, would likely elicit a smile from its cosmic source.

9) “Toxic” – Portland Cello Project
Album: Portland Cello Project
For those with discriminating tastes who have pondered what a Britney Spears song would sound like as rendered in perhaps a more sophisticated medium, look no further than the Portland Cello Project’s cover of “Toxic,” which features a bevy of, well, cellos. The ensemble plays the arrangement close to the vest (and the vocals actually sound a bit like Spears), but its enthusiasm and unorthodox approach is irresistibly satisfying.

8) “Temptation” – Southside Johnny & The LaBamba Big Band
Album: Grapefruit Moon: The Songs of Tom Waits
Soaked in the faded glitz of late-night burlesque and the blue-collar grime of a Jersey shore bar, Southside Johnny bejewels this Tom Waits gem with a big brass band (or is it a brass big band?) and swagger to spare. It’s a nocturnal lament, ladies and gentlemen, rife with carnal delights and callings. It’s Southside Johnny for one night only, every night of the week: He sings! He swings! ‘Til the money runs out, he’ll tango ‘til you pour.

7) “Breaking The Girl” – Anna Nalick
Album: Shine [EP]
Already somewhat peculiar in its original form, Nalick envisages this Red Hot Chili Peppers track into an even starker enigma, stripping it down to its sonic bare bones while sustaining the cryptic bent of its narrative. It’s a riveting, ambitious interpretation, one which says something about Nalick’s creative depth and potential.

6) “All I Want Is You” – Glen Campbell
Album: Meet Glen Campbell
From one of last year’s unexpectedly rewarding albums, Campbell’s earnest rendition of this U2 love song recalls the mood of his most timeless performances. Four decades after pleading, “I need you more than want you/ And I want you for all time,” the proverbial lineman for the county sounds inspired, pining, and ever still on the line.

5) “Make You Feel My Love” – Neil Diamond
Album: Home After Dark [Deluxe Edition]
In his recent collaborations with producer Rick Rubin, the Solitary Man has boldly tapped back into the dark consciousness that inhabits his most resonant works. It’s with comparable sentience that Diamond enriches this modern Bob Dylan classic, his intimate and somber expression poignantly suiting the directness of the lyrics.

4) “It’s A Long Way To The Top (If You Wanna Rock ‘N’ Roll)” – Lucinda Williams
Album: Little Honey
Ornery and defiant, Williams manhandles this AC/DC rocker into a mantra, serving as much as an affirmation of her life as her art. An incidental note to all aspiring artists: If your idea of paying dues is to camp out on the pavement before your American Idol audition, turn this track up loud and let Ms. Williams put you wise.

3) “Aretha, Sing One For Me” – Cat Power
Album: Jukebox
On this obscure gem by singer/songwriter George Jackson, Cat Power stretches out the groove, sinking deep into the song’s yearning plea for some end-of-romance solace. The Queen of Soul has seldom received a more forsaken request.

2) “Pride (In The Name Of Love)” – Soweto Gospel Choir
Album: In The Name Of Love – Africa Celebrates U2
A standout performance among an album of exceptional music, U2’s anthemic homage to MLK assumes an altogether distinct and urgent resonance here. Rich with indigenous expression and rhythms, the Soweto Gospel Choir enliven the song with the resolve, hope, and triumphant spirit of its native land and, in so doing, make an inspiring statement.

1) “Time” – Heidi Talbot
Album: In Love And Light
In a flawless marriage of songwriting brilliance and vocal elegance, Irish songstress Heidi Talbot summons a stunning rendition of this Tom Waits masterpiece, drawing out subtleties within the narrative through her delicate phrasings and inflections. It’s this kind of performance that makes songwriters want to slave over a piano or guitar in the pursuits of their craft.

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Album Review: Cat Power - Jukebox

Like some wistful Southern novel, the music of Cat Power can transport you to a place where time crawls, like a lazy summer evening where the smell of sugarcane wafts through the sticky air. On her latest album, she blends echoes of the past with more modern expression – including her own – into a succulent collection of songs called Jukebox.

Ostensibly a sequel to The Covers Record, Jukebox includes songs written or made famous by artists as diverse as James Brown, Hank Williams, Billie Holiday, Janis Joplin, and Bob Dylan. As well, Cat Power contributes “Metal Heart,” which appeared in its original incarnation on her album, Moon Pix, and “Song To Bobby,” a mesmerizing new track that is supposedly a tribute to Dylan.

Although a collection of covers invariably calls for comparisons between new and original (or most familiar) versions of the songs, such attention is not altogether necessary to appreciate this album. In fact, Cat Power invests so much of her own temperament and technique into these songs that some bear an only minimal resemblance to their predecessors, thus taking on an entirely distinctive sound.

An ethereal air runs through songs like “Ramblin’ (Wo)man” and “Blue” as the singer moans to music that hovers like a nebulous mist. On “I Believe In You,” arguably the album’s boldest cut, she muscles her way through a writhing groove hinged on a riff worthy of Keith Richards. And musically subtler though no less vocally daring, other tracks are steeped in unadulterated soul, such as “Aretha, Sing One For Me” and “A Woman Left Lonely,” which allow Cat Power to stretch her voice with its low and lustful drawl.

Like its title suggests, Jukebox comprises songs from different genres and artists. Unlike a Wurlitzer though, this music collection coalesces into a cohesive album drawn together by one breathtaking voice. Cat Power treats these songs not as works to be duplicated but as templates from which to render a singularly creative and beguiling album.

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Do It Again: Top Cover Songs of 2007

Something intriguing occurs when an artist or band takes on someone else’s song. The interpreter may cover that song by adhering to hallmarks of the original version, but hopefully enough distinctiveness shines through to make it a worthwhile performance and not merely a facsimile. Here are ten of the best cover songs from this past year.

10) “Can’t Get It Out Of My Head” – Velvet Revolver
Album: Libertad

One of ELO’s sweetest brews gets spiked with something a bit more virulent. Velvet Revolver plays in hard-rock mode yet preserves the original track’s melodic sensibilities. Slash stirs in a beguiling guitar performance, and the song sounds intoxicating in a whole new light.

9) “Paper Moon” – Erin McKeown
Album: Sing You Sinners

Ms. McKeown plays it cute and sassy, turning this swingin’ old song into a bouncy little ditty that would’ve made Sinatra blush.

8) “Goin’ Out West” – Queens of the Stone Age
Album: Sick, Sick, Sick [EP]

One of Tom Waits’ most fuel-injected tracks shifts into high-octane overdrive with QOTST behind the wheel. One can almost picture Waits and QOTST racing cross-country, barreling toward the same squalid destination.

7) “Stuck Inside Mobile With The Memphis Blues Again”: Cat Power
Album: I’m Not There OST

At times it seems like she’s trying to inject Bob Dylan’s inflections on this, but Cat Power can’t escape the viscous essence of her own voice. For a woman known for delivering remarkable covers, this one ranks as one her finest.

6) “Court And Spark” – Herbie Hancock featuring Norah Jones
Album: River: The Joni Letters

Norah Jones slips into this song with sophisticated ease, her sultry voice wafting above Hancock’s sparse and measured arrangement. Joni Mitchell’s songs pose a certain amount of complexity for any interpreter, but Norah Jones consummately succeeds.

5) “Longer” – Babyface
Album: Playlist

Babyface’s tender rendition of this timeless love song would have made this list by its own merit anyway, but now it holds added poignancy in light of Dan Fogelberg’s untimely passing.

4) “You Sexy Thing” – Stereophonics
Album: Radio 1 Established 1967 [UK import]

To start, Kelley Jones wails his raspy voice over a crude guitar and it almost feels like we’re in for a slow, folksy rendition of this Hot Chocolate gem. Then, at the 25-second mark, Stereophonics lay down the proverbial funk and proceed to get their ever-loving groove on.

3) “I Am The Walrus” – Bono & Secret Machines
Album: Across The Universe OST

Chaotic music and trippy effects swirl and scrape as Bono brings an unbridled ferocity to one of The Beatles most psychedelic compositions. Goo goo g’joob.

2) “Gimme Shelter” – Patti Smith
Album: Twelve

The Rolling Stones made an ominous apocalypse sound erotic and eerie. Patti Smith, with her unembellished yet poetic gravitas, makes such a prospect seem unnervingly imminent.

1) "(Just Like) Starting Over" – The Flaming Lips
Album: Instant Karma! The Amnesty International Campaign To Save Darfur

By distilling John Lennon’s original to its quintessence, the Flaming Lips impart this song with ethereal tenderness. Wayne Coyne sings it almost with a lump in his throat. His vulnerable sincerity will surely put a lump in yours.

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Weird and Wonderful: Cat Power in Concert

Cat Power and The Dirty Delta Blues Band: October 21, 2007: State Theatre, St. Petersburg, FL

The sound didn’t fit the vision. While her voice reverberated through the room to mostly slow and bluesy music, Chan Marshall, better known as Cat Power, timidly pranced around the stage as if craving a sugar fix. Odd as it was to watch, however, on Sunday night at the State Theatre, her singing fortunately didn’t suffer from her incongruous demeanor. 

Backed by The Dirty Delta Blues Band, Marshall’s low and smoky voice was initially overpowered by the volume of the music. Because of this the first few songs, which included a tempered version of “The Greatest,” sounded almost indecipherable.

Contributing to the sonic obscurity, the spotlights scarcely illuminated the stage and, in particular, the singer, who seemed more comfortable in the shadows. Whether intentional or caused by an electrical glitch, the darkness effectively concentrated the audience’s focus on the show’s genuine center of attention: Chan Marshall’s voice. 

Thankfully, the audio engineer adjusted the mix and a swift run through of “Naked If I Want To” fared much better. The subtle southern funk of “Could We” also came off rather well, its groove reminiscent of records produced in the sixties and seventies by Stax. 

Much to the bewilderment of the standing-room-only audience, Marshall, looking nervous and distracted, called for an abrupt “eight-minute” intermission. Returning with enough refreshments for the front quarter of the crowd, she then spent a good 10 minutes pouring water into cups and passing them out one by one. While a thoughtful gesture, it seemed strange nonetheless, given that the concert was in a modest air-conditioned room rather than at some outdoor venue. 

Apologizing for the sudden break and promising not to stop again until the very end (which would feature no encore) Marshall appeared more focused and sounded, more often than not, incredible. What she lacked in vocal might she more than compensated for with resonance and raw emotion. 

Case in point, her understated rendition of Aretha Franklin’s “I Can’t See Myself Leaving You” yielded one of the night’s finest performances. Also, “Where Is My Love” ached with palpable tenderness and solemnity.

“Lived in Bars,” which had garnered incessant requests from the fervent crowd all night, suitably brought the concert to a close.

At times, the woman with the superhuman-sounding pseudonym of Cat Power appeared all too human, exhibiting indiscriminate quirks and signs of reticence, perhaps even stage fright.

Yet, whenever Chan Marshall settled into a song, her captivating voice saturated the room and satisfied everyone within it, rendering all of the evening’s peculiarities utterly irrelevant.

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