Sunday, December 3, 2023

Solo Compositions by Female Superstars

As might be obvious to anyone who has read even a few entries on this blog, one of the things I most enjoy doing is compiling albums or music playlists based on various themes, whether it's my favorite songs by particular songwriters, imaginary albums by bands like the Beatles, the best songs of particular eras, early recordings by famous artists, obscure versions of famous songs, or songs about particular topics or in particular musical styles. Granted, some of these lists can get pretty esoteric, but I get a kick out of making them, and I think most of them have some appeal to at least a subset of music fans. Here's one of my more off-the-wall music lists, one that is necessarily incomplete due to the subjective nature of my choice of artists, but I still think a few people might find it interesting. 

More perhaps than the vast majority of music listeners, I'm particularly interested in who wrote the songs I listen to. While mostly this interest is directed to topics like which bandmembers wrote what in groups like the Beatles and Queen, or collecting songs that songwriters I like such as Randy Newman or Joni Mitchell wrote for for or had covered by other artists, it applies to other pop music listening I do, including mainstream artists like Madonna, Lady Gaga or Adele. This can lead to interesting observations, like how many big pop hits Max Martin has had a hand in writing, or how singer/songwriters like Linda Perry and Dan Wilson wrote or co-wrote some of my favorite pop songs from recent decades, but it also led me to making this particular list. Basically, most people know that among massively popular female superstars, a number of them have a hand in writing much of their material. But in most cases, they generally don't write their songs alone, but with co-writers. This seems even more true in recent years, given the tendency for many pop songs to list a large number of writers (though this is probably in part due to changes in the way songs are credited, such that even the smallest contribution results in a writing credit). So I thought it'd be interesting to look through the catalogs of a number of these superstars, and find the songs that they wrote entirely on their own. 

The subjective part of the list, as mentioned above, is which female superstars I included. Mostly I picked ones I have listened to more, such as Madonna, Shakira, Amy Winehouse, Lady Gaga and Adele. When Tina Turner died and I went back through some of her catalog, I was inspired to add her as an early example. I also included some recent artists who I may not actually have in my collection but who nevertheless have some songs I like, including Taylor Swift and Meghan Trainor. But of course there are a number of other female superstars who could be included in this list, assuming that they have at least one or two songs that they wrote on their own (or at least were credited with). Many singers, of course, don't write any of their material, or at best they write an occasional lyric. But even some who write a lot don't seem to have written anything entirely on their own. A case in point is Mariah Carey, who wrote a lot of the lyrics for her songs herself, and often co-wrote the music, but doesn't seem to have composed the music for any of her songs all on her own (though I'll admit I didn't check all of her rather extensive catalog, so there may be something I missed). Perhaps I will expand this list in the future if I think of additional artists to include, or if I discover songs that I missed. [Note: I have added a song by Cher, as I discovered that while the vast majority of her songs were written by others, she released one album where she did much of the writing, including one song that she wrote on her own.]

As should be clear, in this list I only included songs that the singer wrote or was credited with writing entirely by herself. Many artists who are known for writing their own material, like Madonna and Lady Gaga (or Mariah Carey, as noted above), usually work with co-writers. Madonna, like Carey, writes most of her own lyrics, but usually has a co-writer handling much or all of the music. She only received sole songwriting credits on a handful of songs, mostly from the beginning of her career (and it's certainly possible that she didn't actually write the music for some of these songs without some uncredited help). This leads to another interesting point I noticed; a number of artists who wrote quite a few songs by themselves early in their careers seem to have mostly stopped doing so after their first few albums. Aside from Madonna, other examples include Adele, Lady Gaga and Katy Perry (Tina Turner, on the other hand, wrote a lot of the songs on her later albums with her ex-husband Ike Turner, but didn't write anything in her later years). Another special case is Taylor Swift. She actually wrote most of the songs on her early albums solo, but I've only included some of the bigger hits from those albums, since otherwise her songs would dominate the list. But even in her case, she has mostly worked with co-writers on her more recent albums. 

 Some additional notes: Stefani Germanotta is of course Lady Gaga's original name. The EP she released with the Stefani Germanotta Band doesn't have writing credits, but her producer has said his assumption was that she wrote all the songs herself, and this seems plausible, given the ones she wrote as Lady Gaga (including what is probably my favorite song of hers, "You and I"). Katy Hudson is Katy Perry's original name, and the name under which she released her first album, which was (of all things) a contemporary Christian album. Ella Yelich-O'Connor is Lorde's real name. 

Solo Compositions by Female Superstars
Feel Good (Turner)    Ike & Tina Turner (1972)
Black Coffee (Turner)    Ike & Tina Turner (1972)
Nutbush City Limits (Turner)    Ike & Tina Turner (1973)
Sweet Rhode Island Red (Turner)    Ike & Tina Turner (1974)
Sexy Ida (Pts. 1 & 2) (Turner)    Ike & Tina Turner (1974)
Everybody (Madonna)    Madonna (1982)
Lucky Star (Madonna)    Madonna (1983)
Burning Up (Madonna)    Madonna (1983)
Shoo-Bee-Doo (Madonna)    Madonna (1984)
Gambler (Madonna)    Madonna (1985)
Hey You (Madonna)    Madonna (2007)
Kindred Spirit (Lauper)    Cyndi Lauper (1989)
New Year's Baby (First Lullaby) (Lauper)    Cyndi Lauper (1998)
With or Without You (Cher)    Cher (2000)
Moscas en la Casa (Shakira Mebarak)    Shakira (1998)
Que Vuelvas (Shakira Mebarak)    Shakira (1998)
Tú (Shakira Mebarak)    Shakira (1998)
Objection (Tango)/Te Aviso, Te Anuncio (Tango) (Shakira)    Shakira (2002)
Escondite Inglés (Shakira)    Shakira (2005)
Día de Enero (Shakira)    Shakira (2005)
I Heard Love Is Blind (Winehouse)    Amy Winehouse (2003)
Rehab (Winehouse)    Amy Winehouse (2006)
You Know I'm No Good (Winehouse)    Amy Winehouse (2006)
Me & Mr. Jones (Winehouse)    Amy Winehouse (2006)
Love Is a Losing Game (Winehouse)    Amy Winehouse (2006)
Some Unholy War (Winehouse)    Amy Winehouse (2006)
Addicted (Winehouse)    Amy Winehouse (2006)
Hometown Glory (Adele Adkins)    Adele (2008)
Daydreamer (Adele Adkins)    Adele (2008)
Best for Last (Adele Adkins)    Adele (2008)
Crazy for You (Adele Adkins)    Adele (2008)
First Love (Adele Adkins)    Adele (2008)
My Same (Adele Adkins)    Adele (2008)
I Found a Boy (Adele Adkins)    Adele (2011)
Something Crazy (Stefani Germanotta)    Stefani Germanotta Band (2006)
No Floods (Stefani Germanotta)    Stefani Germanotta Band (2006)
Wish You Were Here (Stefani Germanotta)    Stefani Germanotta Band (2006)
Words (Stefani Germanotta)    Stefani Germanotta Band (2006)
Red and Blue (Stefani Germanotta)    Stefani Germanotta Band (2006)
Speechless (Stefani Germanotta)    Lady Gaga (2009)
You and I (Stefani Germanotta)    Lady Gaga (2011)
Just Another Day (Stefani Germanotta)    Lady Gaga (2016)
Love Story (Swift)    Taylor Swift (2008/2021)
Fifteen (Swift)    Taylor Swift (2008/2021)
State of Grace (Swift)    Taylor Swift (2012/2021)
Red (Swift)    Taylor Swift (2012/2021)
Holy Ground (Swift)    Taylor Swift (2012/2021)
Begin Again (Swift)    Taylor Swift (2012/2021)
This Love (Swift)    Taylor Swift (2014/2022)
Lover (Swift)    Taylor Swift (2019)
Cornelia Street (Swift)    Taylor Swift (2019)
My Tears Ricochet (Swift)    Taylor Swift (2020)
No Body, No Crime (Swift)    Taylor Swift featuring Haim (2021)
Last Call (Hudson)    Katy Hudson (2001)
My Own Monster (Hudson)    Katy Hudson (2001)
Spit (Hudson)    Katy Hudson (2001)
When There's Nothing Left (Hudson)    Katy Hudson (2001)
Thinking of You (Perry)    Katy Perry (2009)
One of the Boys (Perry)    Katy Perry (2009)
Mannequin (Perry)    Katy Perry (2009)
Every Day Is a Holiday (Perry)    Katy Perry (2015)
I'll Be Home (Trainor)    Meghan Trainor (2014)
My Selfish Heart (Trainor)    Meghan Trainor (2015)
Marry Me (Trainor)    Meghan Trainor (2019)
The Path/Te Ara Tika (Ella Yelich-O'Connor)    Lorde (2021)
Oceanic Feeling/Hine-i-te-Awatea (Ella Yelich-O'Connor)    Lorde (2021)

Honorable Mention: 
Timor (W: Shakira, Peter Gabriel M: Shakira)    Shakira 
[This song wasn't written entirely by Shakira, but she was mainly responsible for it, and I couldn't resist giving it a shout-out for its social commentary, not to mention its co-writer]

Tuesday, December 13, 2022

Fleetwood Mac Highlights

 This year has already seen the deaths of a number of notable musicians and singers, including Lamont Dozier, Lata Mangeshkar, Jerry Lee Lewis, Gary Brooker of Procul Harum, Olivia Newton-John, Loretta Lynn, Coolio and more. But the one whose songs I felt the closest connection to is probably Christine McVie of Fleetwood Mac. So with her recent death, it seems like a good time to post a list of some of my favorite Fleetwood Mac songs and songs that I consider to be among the highlights of their long, highly varied career.

While I actually only have a limited number of Fleetwood Mac albums in my collection, two of them, the eponymous Fleetwood Mac (1975) and especially Rumours (1977), are full of songs that I've listened to countless times, and most of the band's best known tracks from their subsequent albums are also very familiar to me, particularly those from Tango in the Night (1987), as that came out when I first started intensely listening to music, around the time I graduated from high school. In addition to a compilation covering the band's output from 1975 on, I have one from the early Peter Green era, and more recently I acquired the box set 25 Years - The Chain, which covers a wider range of their career. Other than founding members Mick Fleetwood and John McVie, Christine McVie (born Christine Perfect), who joined the band in 1970 after marrying John McVie (they divorced in 1976, not long before Rumours came out), was in the band for longer than anyone else up until her 15-year hiatus from the group beginning in 1998. She had become the band's chief songwriter and lead vocalist when, in late 1974, they were joined by Lindsey Buckingham and Stevie Nicks, who subsequently shared writing and singing duties with McVie for the most successful era of the band's career. 

Having multiple talented songwriters, as many great bands such as the Beatles, Queen, Genesis, the Eagles and Buffalo Springfield have had, plus having more than one member capable of singing lead, as was also the case with most of these bands, makes a group's recordings sound more varied than they would otherwise, and Fleetwood Mac was no exception. Indeed, if their entire career is considered, they were among the most varied of all, though that was in part because of their constantly changing lineup. While drummer Mick Fleetwood and bassist John McVie are the band's rhthymic heart and its only constant members and are in fact the people it is named for, they don't sing or do much songwriting. The band's primary songwriter when it was founded in Britain in 1967 was guitarist and vocalist Peter Green; in fact in the beginning it was sometimes billed as Peter Green's Fleetwood Mac. Peter Green wrote a number of great songs in the band's early days, including "Black Magic Woman" (later a big hit for Santana), "Albatross", "Oh Well" and "The Green Manalishi", but drug use led to mental issues and he left the band in 1970. Guitarists Jeremy Spencer, who had been with the band since the beginning, and Danny Kirwan, who had joined in late 1968, took over songwriting duties, though the band also did covers, particularly blues songs, as they had on their albums with Green. Kirwan's "Dragonfly" was the most notable track from this period.

Christine McVie, who had been making appearances with the band since May 1969 when she was still known as Christine Perfect, officially joined in late 1970. Spencer suddenly quit to join a religious group in early 1971, and while Green was recruited to fill in temporarily, Spencer's permanent replacement was American guitarist and singer Bob Welch, and he and McVie joined Kirwan as the band's chief songwriters. But Kirwan had alcohol problems and started to fight with the others, and Fleetwood fired him in late 1972. Subsequently they added guitarist Bob Weston and vocalist Dave Walker, though Walker only lasted one album and Weston for two. Other musicians played with the band without becoming full members. Welch and McVie were the band's main writers in this period, with key tracks including Welch's "Hypnotized" and McVie's "Heroes Are Hard to Find". 

By now the band, despite their British origins, were based in California. Fleetwood invited guitarist/vocalist Lindsey Buckingham and his partner, vocalist Stevie Nicks to join the band at the end of 1974, while Welch left for a solo career. It was this lineup of Fleetwood, the two McVies, Buckingham and Nicks that recorded the hugely successful 1975 album Fleetwood Mac and then, despite the breaking up of the McVies' marriage and Buckingham and Nicks's relationship (not to mention Fleetwood's divorce from his wife), they recorded and released Rumours, which came out in early 1977 and became one of the best selling albums of all time. Subsequent albums by this lineup, 1979's Tusk, 1982's Mirage and 1987's Tango in the Night may not have been quite as consistent as the first two, but they still had a lot of great material, and overall this period is generally considered the band's peak. Buckingham quit before the tour for Tango in the Night, and over the subsequent years the band's lineup went back to being highly fluid, with key members such as Nicks and Christine McVie sometimes leaving and returning and the band adding various other members such as Billy Burnette and Rick Vito, though the studio albums released in this period fared poorly both critically and commercially. 

The Rumours era lineup reunited in 1997 and recorded and released the successful concert album The Dance. But Christine McVie quit in 1998 and she only played on a few tracks on what is to date the band's last studio album, 2003's Say You Will, which was dominated by Buckingham and Nicks, as was the 2013 EP that remains the most recent release of new material under the band's name. McVie rejoined the band for live performances in 2014, and she and Buckingham released an album of new songs together in 2017, with contributions from Fleetwood and John McVie. But in 2018, Buckingham was forced out of the band after conflicts with Nicks, and replaced with guitarist Mike Campbell (formerly of Tom Petty and the Heartbreakers) and vocalist/guitarist Neil Finn of Crowded House. This new lineup toured together very successfully but had not released any studio recordings by the time of Christine McVie's death on November 30 of this year (other key members of the band who have died in recent years include Peter Green, who died in 2020, and Danny Kirwan, who died in 2018), though in July 2021 Neil Finn released a charity single which featured Stevie Nicks and Christine McVie, which as far as I can discover seems to be the last studio recording to feature multiple members of Fleetwood Mac.

As noted above, I can't by any means claim a comprehensive familiarity with all of Fleetwood Mac's recorded output, and truly dedicated fans will no doubt say I left a lot of great songs out of the following list. For that matter, I myself may come to consider it lacking after I have the opportunity to listen more extensively to the aforementioned box set and to later material that I haven't gotten around to checking out. But while the list may be missing a lot, what I can be sure of is that the songs I've included are all worth a listen by all music fans.

Black Magic Woman (Green)

Love That Burns (Green/Adams)

Albatross (Green)

Man of the World (Green)

Oh Well Parts 1 & 2 (Green)

The Green Manalishi (With the Two-Prong Crown) (Green)

Dragonfly (Kirwan)

Sentimental Lady (Welch)

Hypnotized (Welch)

Heroes Are Hard to Find (McVie)

Monday Morning (Buckingham)

Rhiannon (Nicks)

Over My Head (McVie)

Say You Love Me (McVie)

Landslide (Nicks)

World Turning (McVie/Buckingham)

I'm So Afraid (Buckingham)

Second Hand News (Buckingham)

Dreams (Nicks)

Never Going Back Again (Buckingham)

Don't Stop (McVie)

Go Your Own Way (Buckingham)

Songbird (McVie)

The Chain (Buckingham/Fleetwood/McVie/McVie/Nicks)

You Make Loving Fun (McVie)

I Don't Want to Know (Nicks)

Silver Springs (Nicks)

Think About Me (McVie)

Sara (Nicks)

What Makes You Think You're the One (Buckingham)

Storms (Nicks)

Sisters of the Moon (Nicks)

Tusk (Buckingham)

Gypsy (Nicks)

Hold Me (McVie/Patton)

Big Love (Buckingham)

Seven Wonders (Nicks/Stewart)

Everywhere (McVie)

Little Lies (McVie/Quintela)

As Long As You Follow (McVie/Quintela)

No Questions Asked (Nicks)

Paper Doll (W: Nicks M: Nicks/Vito/Heron)

Peacekeeper (Buckingham)



Tuesday, July 19, 2022

Celebrating the Birthdays of Two Musical Greats

 The past few weeks have seen major birthday milestones for two musicians who were key members of two of the biggest bands in popular music history - bands that also happen to be two of my favorites. What's more, these two musicians share a number of characteristics, both in terms of their approaches to music and in the way that, despite receiving widespread praise and admiration, they are sometimes slightly (and unfairly) overshadowed by deceased former bandmates. 

Paul McCartney, who became famous as one of the Beatles, turned 80 on June 18. I wrote a brief retrospective of his career in Chinese that I posted on Facebook to commemorate the occasion, though I was far from the only one to acknowledge it (one of the more notable public tributes for McCartney's birthday was by Sean Lennon, son of his former Beatles bandmate John, who posted a cover of "Here, There and Everywhere"). I wrote a far more extensive retrospective here on my blog on the occasion of McCartney's 70th birthday. However, it really should be updated, as in the intervening decade, McCartney has remained amazingly prolific for a man of his age, releasing three albums of new songs, New, Egypt Station and McCartney III, all strong contenders for the list I included in that retrospective of "Paul McCartney’s Best Post-Beatles Studio Albums". If I was still narrowing it down to ten albums, New would displace Flowers in the Dirt and Egypt Station might displace Venus and Mars, Run Devil Run or Electric Arguments (though those are all quite good as well, so it'd be a tough call). Another demonstration of his continuing musical versatility came in 2012, when he collaborated with the three remaining members of Nirvana on the screaming rocker "Cut Me Some Slack". 

There is no question that Paul McCartney is one of the most talented songwriters in popular music history. In fact a strong argument could be made that as a writer of melody in particular, he is among the greatest in any genre of music, up there with people like Mozart. Bob Dylan, also one of the greatest songwriters of the past century, once acknowledged that he was in "awe" of the ease with which McCartney came up with original melodies, and another of the greats, Paul Simon, has expressed similar sentiments. Despite this, there is still a tendency among a few critics, fans, and less aware members of the general public to idolize the late John Lennon over McCartney, a phenomenon I address at greater length in the blog post referenced above. You're still far more likely to see a T-shirt or poster with a picture of Lennon than McCartney. However, I get the impression that by now most people who have more than a passing knowledge of pop music recognize McCartney's genius. In any case, there's no comparing the two's solo careers at this point, as McCartney's has gone on for more than four decades longer and has been by far more prolific. 

A more recent birthday was that of Brian May of Queen, who turned 75 on July 19. As I did with the members of the Beatles, I wrote retrospectives of all the members of Queen a decade ago, including one on May when he turned 65. May has not been particularly prolific in terms of new music recently, as he has yet to release a solo album this century, though he has written and released a number of new songs, including several he did with singer Kerry Ellis and the song "New Horizons" commemorating the space probe of the same name. But he has remained impressively active on many other fronts, touring with Queen bandmate Roger Taylor and singer Adam Lambert (I saw them myself when they came to Taiwan a number of years ago); playing guitar for numerous artists, one of the most prominent examples being Lady Gaga, on what I consider her best song, "You and I"; various endeavors in the fields of science, space exploration and stereophotography, including publishing the book Queen in 3-D featuring his stereoscopic photos of the groups, and animal rights activism, something he shares with McCartney, with both of them speaking out strongly against fox hunting in Britain. 

One thing that May shares with McCartney is a meticulous approach to arrangement, something that can be seen most clearly on songs like "Good Company", which May painstakingly assembled from numerous guitar overdubs to create a backing track that sounded like a trad jazz band. They also share an obvious affinity for melody. But also like McCartney, he has at times been overshadowed by a former bandmate who died decades ago, in his case Queen vocalist Freddie Mercury. It is true that in addition to his incredible vocals, amazing showmanship, and impressive piano playing, Mercury was Queen's most prolific composer, writing the largest share of their songs, including many of their biggest hits. But in the band's golden years in the 1970s, May wrote as much of the band's material as Mercury, with Taylor and bassist John Deacon writing much less, and while in the 1980s Mercury and May's songwriting dominance ended, with all four members more or less writing equal amounts, May made major writing contributions to all the group's albums. May didn't write as many big hit singles as Mercury, but he did write such hits as "We Will Rock You", "Save Me", "Hammer to Fall", "Who Wants to Live Forever" and "I Want It All", as well as many great album tracks like "'39", "The Prophet's Song", "Tie Your Mother Down", "It's Late", and "Dead on Time". "'39" in particular is brilliant, probably the only song by a major rock band to portray the effects of time dilation as outlined in Einstein's theory of relativity. May was also responsible for some of Queen's most lyrically thought-provoking songs, such as "Put Out the Fire" and the abovementioned "Hammer to Fall" and "'39". But Mercury's death, like Lennon's, has removed him to the pantheon of dead rock gods alongside people like Jimi Hendrix, Elvis Presley and Janis Joplin, so inevitably his bandmates get a lot less attention. Not that May seems to mind particularly. Still, it's worth remembering that, just as Paul McCartney was as much responsible for the Beatles' greatness as John Lennon, Brian May and his guitar were as essential a part of Queen's sound as Freddie Mercury's voice. Not to mention, being both the holder of a PhD in astrophysics and the writer of iconic songs like "We Will Rock You" and "Hammer to Fall" is an achievement that few could ever hope to emulate.

So best wishes to both McCartney and May, as well as to other musical greats who have recently celebrated birthdays, such as Brian Wilson (80) and McCartney's fellow Beatle Ringo Starr (82). I hope they'll be around to make music for many more years.

Sunday, December 26, 2021

My (Very Limited) Songwriting Career and Some Spotify Lists

I've continued to neglect this blog, but I wanted to make at least one post before the year ended. I was originally planning to write something about the Beatles' last year together and the two albums that came out of it, Let It Be (the recording of which was covered by the recent Beatles documentary Get Back) and Abbey Road, but I haven't had time to do it. As an alternative, I'm posting something I wrote 10 days ago about my two small contributions to the world of recorded music, and a list of some of the Spotify lists I've compiled in the last year or so.

My (Very Limited) Songwriting Career

Though I've written a handful of songs and even publicly performed a few of them, none of them has appeared on any kind of formal release. Twenty years ago, I rewrote a couple of lines in a short song in English called "I Learn" which Taiwanese musician Zhu Yuexin (Jutopi) had written for Taiwan's first human rights-themed compilation album A Home for Everyone (美麗之島,人之島). He insisted that I be credited, so that was the first and until now the only time I've received a songwriting credit on an officially released CD. But some time back, Paiwan singer-songwriter Zhuo Yamai (卓亞麥) asked me to write English words for a blues song that he'd released on his 2019 album. Since the original Chinese lyrics were short and simple, I was able to translate them more or less directly with only slight adjustments so they would scan correctly, and using an instrumental backing track he'd given me, I recorded a demo for him. A few months ago, he told me he'd recorded the song for his new album. The album, titled Bicai (部落菜車), was just released, and on the song I wrote/translated the lyrics for, he sings a duet with another great Paiwan singer-songwriter, Dakanow (達卡鬧). While they are obviously not native speakers of English, they have the feeling down pat, and the backing track is pure blues. So for the second time, I have a songwriting credit on a CD. I hope I'll get more opportunities like this in the future, including writing entirely original lyrics in either English or Chinese (and maybe music as well, though my abilities there are a little more limited) - and that it won't be quite so long until the next time.

Some Spotify Lists
More Than 1001 Songs You Must Hear Before You Die: https://open.spotify.com/playlist/0kUt9ERobbN9b37boaj62z?si=9576d4eff20a442f

The Beatles - A Comprehensive Introduction: 
https://open.spotify.com/playlist/0ATqLioi58R5EXQSh0K450?si=f21354445a0f4593

Queen - A Comprehensive Introduction: 
https://open.spotify.com/playlist/4IeOrO4ThgnpIkmRuA8B2p?si=5f65d7c637914dc3

Sting and the Police - A Comprehensive Introduction: 
https://open.spotify.com/playlist/1dcFY1SmdFgnMGOytMuHIw?si=338b92021ec74fe9

Genesis - A Comprehensive Introduction: 
https://open.spotify.com/playlist/5Gl1Vyk9JNB3zA2BIdXL4Z?si=0134eb73fd0a4340

Randy Newman Sings Randy Newman: 
https://open.spotify.com/playlist/1p7iRVxEYjKcufRkDOsONh?si=01eef7d4f54e4828

The Songs of Randy Newman: 
https://open.spotify.com/playlist/1lJno5iLpeivFRpMsHTwVG?si=6f5710e970974f9c

Epic Songs: 
https://open.spotify.com/playlist/4A30sXYOjJBdnIjGwSYHVB?si=b2b0202b23da45c8

Everyone Sings the Beatles - A Selection of Beatles Covers
https://open.spotify.com/playlist/24k7IUPtunPaVl4fSajmEr?si=12a3f3ba0a844e5c

Obscure Beginnings: 
https://open.spotify.com/playlist/2SUWgLMI1S0yYYqhk3K4je?si=753879f587fc4443

Obscure Originals: 
https://open.spotify.com/playlist/77xWygDEe3hp5J0oopm95c?si=d41dc1d777714e9d

羅大佑精選The Best of Luo Dayou (Lo Tayou): 
https://open.spotify.com/playlist/1bQq52OQOgY6NczYipXr4y?si=fbe4bf0c1cd9494c

Beyond精選The Best of Beyond: 
https://open.spotify.com/playlist/2zec3aHwx0Hathzw3RILN2?si=1ea42163577f4a44

近代經典台灣原住民歌Modern Taiwanese Indigenous Pop: 
https://open.spotify.com/playlist/65SzxUWwUbZQNpieAfSAc3?si=631f84ef2c934533

East and Southeast Asian Classics (東亞經典歌曲): 
https://open.spotify.com/playlist/5gMBQKFTuZ5nBVr2n03nUl?si=621ad345d18c44ef

1980年代的台灣流行歌 Taiwanese Pop of the 1980s: 
https://open.spotify.com/playlist/5BGX7rwutvIL3miFgWqC9b?si=5e7ec349c42c459c


Thursday, December 31, 2020

Six Plus Nineteen: Songs for Juneteenth

I have badly neglected this blog for a couple of years now, but since I managed to make one post last year, I didn't want to let this year go by without at least one new entry. Obviously the list below was compiled over 6 months ago, but at the time I didn't think to post it here, though I did post it elsewhere. It matters little, since the songs themselves are timeless - and more regrettably, the problems they address haven't been adequately dealt with. Let's hope we see more progress in 2021, which at least seems possible now that the US will have a decent president.

Six Plus Nineteen: Songs for Juneteenth

Juneteenth, celebrated every June 19th, is a holiday commemorating the day when African American slaves in Texas were first informed that they had been freed by Abraham Lincoln's Emancipation Proclamation. It's an official holiday in Texas and an unofficial one across the United States, but it has gained special resonance this year in the wake of the Black Lives Matter protests against police violence that have taken place over the past few weeks, not only in the US but around the world. As a result, there are rallies, protests and activities happening all around the US and beyond this weekend under the heading six nineteen (i.e., the sixth month's nineteenth day). As my own small contribution, I've made a list of songs from the past century or so addressing racial issues in the US and celebrating black pride. There are of course many other worthy songs, and probably I'll be kicking myself over having left out an important one soon after I post this, but I think I've at least covered many of the best ones here. Black Lives Matter!

We Shall Overcome (Traditional), performed by Pete Seeger (1964) - A song with a very complex history stretching back well over a century, it became an anthem of the civil rights movement in the US. There are countless versions of the song, but here I'm including the one by Pete Seeger, who helped popularize the song and was probably responsible for changing the original "We Will Overcome" to "We Shall Overcome".

https://www.youtube.com/watch?v=Kfo_W73n0hE

Strange Fruit (A. Meeropol), performed by Billie Holiday (1939) - Jewish-American writer Abel Meeropol first wrote the harrowing lyrics to Strange Fruit, a song about the lynching of black people in the US South, as a poem, which he published under his pen name Lewis Allen, and he later set it to music with the help of his wife and a black singer named Laura Duncan. They performed it around New York, and it came to the attention of Billie Holiday, who recorded it in 1939. Her version went on to sell more than a million copies, despite the grim subject matter.

https://www.youtube.com/watch?v=0mO92ll_q0k

Black, Brown and White (B. Broonzy), performed by Big Bill Broonzy (1950s) - This song by blues singer Big Bill Broonzy addresses racial discrimination in the US, but instead of merely focusing on the different treatment received by black and white people, Broonzy points out that being "brown", i.e. an African American with lighter skin tones, while not as good as being white, was considered more acceptable than being black, i.e., dark skinned. The song covers discrimination in employment, entertainment, wages and voting. 

https://www.youtube.com/watch?v=k0c1c0ZsTLA 

Blowin' in the Wind (B. Dylan), performed by Bob Dylan (1962) - Dylan's famous folk song, while it addresses war as well as race relations, became an anthem of the civil rights movement, and inspired black musicians like Sam Cooke to create their own civil rights anthems. Also worth mentioning is Dylan's "Oxford Town", inspired by anti-black rioting in Oxford, Mississippi. 

https://www.youtube.com/watch?v=vWwgrjjIMXA

Mississippi Goddam (N. Simone), performed by Nina Simone (1964) - This song by African American singer Nina Simone was her response to violence against black people in the South. While stations in the South refused to play it, it became another civil rights anthem, and Simone sang it at the 1965 civil rights marches in the South.

https://www.youtube.com/watch?v=4tHYGfRot5w

A Change Is Gonna Come (S. Cooke), performed by Sam Cooke (1964) - I posted something about this classic song by Sam Cooke a couple of weeks ago. Inspired in part by "Blowin' in the Wind" and by racism Cooke experienced personally, it is widely considered the best song in his already impressive catalogue. 

https://www.youtube.com/watch?v=wEBlaMOmKV4

People Get Ready (C. Mayfield), performed by The Impressions (1965) - This gospel-influenced song written by Curtis Mayfield, lead singer of The Impressions, is another highly regarded classic inspired by the African American fight against oppression. It has been widely covered by artists including Aretha Franklin and Bob Marley.

https://www.youtube.com/watch?v=UG-KNy1MRTc

Respect (O. Redding), performed by Aretha Franklin (1967) - This song was originally written and recorded by soul singer Otis Redding, but Aretha Franklin drastically rearranged it, turning it to an anthem for both feminism and black rights. Also worth noting is Aretha's own composition "Think", probably my favorite song by her.

https://www.youtube.com/watch?v=6FOUqQt3Kg0

Say It Loud - I'm Black and I'm Proud (J. Brown, A. Ellis), performed by James Brown (1968) - Just months after releasing the reactionary "America Is My Home", James Brown took a big step towards restoring his reputation with this call for black empowerment. 

https://www.youtube.com/watch?v=9bJA6W9CqvE

Blackbird (P. McCartney), performed by The Beatles (1968) - Paul McCartney has said this classic song from the Beatles' White Album was inspired in part by the civil rights movement, with the "blackbird" being a metaphor for a black woman struggling for her rights. Many years later, McCartney addressed racial issues again with his hit duet with Stevie Wonder, "Ebony and Ivory".

https://www.youtube.com/watch?v=Man4Xw8Xypo

Everyday People (S. Stone), performed by Sly and the Family Stone (1968) - This song by Sylvester "Sly Stone" Stewart is a plea for racial equality and mutual understanding. It popularized the catchphrase "different strokes for different folks".

https://www.youtube.com/watch?v=YUUhDoCx8zc 

What's Going On (A. Cleveland, R. Benson, M. Gaye), performed by Marvin Gaye (1971) - This classic soul song addresses all the social problems going on the US at the time, including racial conflict and the war in Vietnam, and is still considered one of Gaye's best recordings. This video from 2019 opens and ends with clips of Gaye performing and intercuts the song with scenes from recent events and protests in America.

https://www.youtube.com/watch?v=o5TmORitlKk

Black and White (D. Arkin, E. Robinson), performed by Three Dog Night (1972) - This anti-racism song dates back to 1954 (Pete Seeger was the first to record it, in 1956), but the best known recording was Three Dog Night's hit version.

https://www.youtube.com/watch?v=4f65mO146Zo

Living for the City (S. Wonder), performed by Stevie Wonder (1973) - This song by Stevie Wonder tells the story of a young black man from Mississippi who moves to New York City and paints a picture of the hardships faced by many African Americans, from hard, low-paying jobs to a racist criminal justice system.

https://www.youtube.com/watch?v=Nu95a_RiH54

Rednecks (R. Newman), performed by Randy Newman (1974) - A listener who heard this song by Randy Newman without paying close attention might easily conclude that the song is racist, sung as it is by a white man who makes heavy use of the n-word and repeats lines about "keeping the n***ers down". But it is in fact a satire, one that mocks both ignorant racists in the South and hypocrites in the North, who call Southerners racist while forcing black people living in Northern cities into ghettos through policies such as redlining. Not comfortable listening for anyone, but razor sharp in its criticism. 

https://www.youtube.com/watch?v=hTLHxpUQ_B8

Redemption Song (B. Marley), performed by Bob Marley (1980) - Bob Marley recorded this song solo, singing and playing acoustic guitar, and released it only half a year before he died of cancer. With its lines about emancipating yourself from mental slavery taken from a speech by Marcus Garvey, it had strong associations with black consciousness.

https://www.youtube.com/watch?v=yv5xonFSC4c

The Way It Is (B. Hornsby), performed by Bruce Hornsby and the Range (1986) - This song by Bruce Hornsby was one of the most social conscious hits of the mid 1980s, condemning hardened racist and classist attitudes and featuring a great piano hook.

https://www.youtube.com/watch?v=GlRQjzltaMQ

Sign o' the Times (Prince), performed by Prince (1987) - Prince wasn't known for writing socially conscious lyrics, but he addressed a wide range of social ills in the title track to this album that many critics consider his best.

https://www.youtube.com/watch?v=8EdxM72EZ94

Talkin' 'bout a Revolution (T. Chapman), perfomed by Tracy Chapman (1988) - Tracy Chapman's songs often addressed social issues, and one of her best songs in that vein was this one from her first album.

https://www.youtube.com/watch?v=Xv8FBjo1Y8I

Funny Vibe (V. Reid), performed by Living Colour (1988) - A couple of weeks ago I posted about Living Colour's "Which Way to America", one of black rock band Living Colour's many songs that focused on social problems faced by African Americans, and this song, which tells about the racial profiling that is a daily experience for black men, is another great example. 

https://www.youtube.com/watch?v=ag2KgtwATfI&t=1s (original version)

https://www.youtube.com/watch?v=8D_uJFs76zU (new version with extra rap verses)

Fight the Power (C. Ridenhour, E. Sadler, H. Boxley, K. Boxley), performed by Public Enemy (1989) - This classic rap song by Public Enemy featured in Spike Lee's film Do the Right Thing and is still a favorite theme song for those fighting unjust authorities.

https://www.youtube.com/watch?v=Kj9SeMZE_Yw

Free Your Mind (D. Foster, T. McElroy), performed by En Vogue (1992) - This hit song performed by En Vogue attacks prejudice and calls for racial tolerance, with a musical backing that's a powerful fusion of rock and soul. 

https://www.youtube.com/watch?v=i7iQbBbMAFE

Where Is the Love? (will.i.am, api.de.ap, Taboo, J. Timberlake, P. Board, M, Frantantuno, G. Pajon), performed by The Black Eyed Peas (2003) - This Black Eyed Peas hit lists numerous social ills in the US and around the worlds and makes a plea for racial unity.

https://www.youtube.com/watch?v=WpYeekQkAdc

Formation (B. Knowles, Rae Sremmurd, A. Hogan, M. Williams), performed by Beyonce (2016) - Beyonce's powerful video for this song helped cement its message of female black empowerment.

https://www.youtube.com/watch?v=WDZJPJV__bQ

This Is America (D. Glover, L. Goransson, J. Williams), performed by Childish Gambino (2018) - One of the most lauded and discussed videos of the past few years is this one by Childish Gambino, the alter ego of singer/rapper/actor Donald Glover, which paints a grim picture of gun violence and conflict in America.

https://www.youtube.com/watch?v=VYOjWnS4cMY 


Thursday, July 25, 2019

Songs to Celebrate the 50th Anniversary of the First Moon Landing

After a long absence, I've finally decided to post something here again, inspired, as noted in my other long-neglected blog, by the fiftieth anniversary of the Apollo 11 landing on the Moon. I did two separate shows on my radio program dedicated to the topic. In the first I played songs from 1969, the year of the Apollo 11 landing (as well as the Apollo 12 landing and the Apollo 10 flight to the Moon), including songs from Taiwan, Britain and the US, some of them directly connected to the Apollo missions, others not. In my other show I played songs connected with outer space in some way or another. Here I'd like to highlight a few of the songs with a direct or indirect connection with the Apollo missions. Some of them I played on my show,  but others I didn't, either because I didn't have room for them or in a few cases because I only discovered them in the week since I recorded the second show.

"Fly Me to the Moon" (Bart Howard) as performed by Frank Sinatra (the link is to a live version)
"Everyone's Gone to the Moon" (Jonathan King) as performed by Jonathan King
These two songs are connected to the Apollo 11 mission in a different way from the ones described below. They weren't inspired by the Apollo missions, as they predate them (indeed one of them predates even Sputnik), and they aren't really about space or space exploration. The Sinatra song was in fact originally titled "In Other Words", which is the phrase repeated in the chorus; "Fly me to the Moon" is the opening line of the song, and only this and the subsequent lines about the stars, Jupiter and Mars have anything to do with space. But Sinatra's version (recorded in 1964; the song itself dates back to 1954) was taken to the Moon by the Apollo 11 astronauts, and Buzz Aldrin supposedly played it while he and Neil Armstrong were on the Moon, making it the first song to be actually played on the Moon (though there is some dispute about whether this happened, as Aldrin's comments have been inconsistent and, unlike most of the songs played on the way to and from the Moon, the song isn't on any of the audio recorded during the mission - though he could have played during a time when they were out of contact with Earth). As for "Everyone's Gone to the Moon", written and recorded by Jonathan King in 1965, the crew listened to it at some point on the way back to Earth. Aldrin seems to have been the one who brought it, as he was the one who brought contemporary popular music (Michael Collins let the others choose the music, and Neil Armstrong brought some more exotic recordings, such as Harry Revel and Les Baxter's Music Out of the Moon), but in his autobiography Michael Collins said that though he'd never heard it before it was his favorite of the songs the others brought, as he found it "restful". While my own impressions of Jonathan King as a person are not particularly good, despite his role in giving Genesis its start, this song is pretty decent, though as far as I know it's the only good thing he did.

"Space Oddity" (David Bowie) as performed by David Bowie
This is an obvious one, not only because it is clearly inspired in part by the Apollo missions as well as the film 2001: A Space Odyssey, but because it was released just a few days before Apollo 11 launched for the Moon. The BBC actually played it during their coverage of the Moon landing, even though, as Bowie himself later commented, the fact that the trip didn't end well for Major Tom made it a somewhat questionable choice. Many decades later, Canadian astronaut Chris Hadfield had similar qualms about the lyrics when his son urged him to do a cover of the song on the International Space Station, so he asked his son to rewrite the lyrics to fit his own situation. Apparently Bowie approved. I was able to watch Hadfield perform his version of the song live at the Starmus festival last month; on keyboards was Rick Wakeman, who played Mellotron on the original recording (he also played piano on "Life on Mars?").

"Armstrong" (John Stewart) as performed by John Stewart
Many years ago, I read about this song in a book - I forget the title, but it was something like 100 Great Songs - but I didn't actually hear it until very recently. In late June, as mentioned above, I attended the Starmus festival, at which Buzz Aldrin, among other prominent astronauts, scientists and musicians, was a speaker. At the festival, they showed the new film Apollo 11, which was put together entirely from original footage from the Apollo era, without any new dialogue or narration, though in some scenes music was added (the director and producer were part of a panel discussion before the film showing along with Neil Armstrong's son Rick). In one scene, Aldrin was playing music on a portable cassette player as the astronauts are travelling toward the Moon. At first the song is heard directly from the original footage, with the expected loss of quality, but suddenly it becomes clear and loud, turning into part of the soundtrack for the subsequent scene.

After returning to Taiwan, I looked up the song, which was "Mother Country" by John Stewart. When I did so I discovered that he had also written and performed "Armstrong" (his most successful composition was "Daydream Believer", though he himself only recorded it several years after it was a huge hit for the Monkees). He started work on the song even before the landing had taken place, and released it as a single soon after, probably in August or early September (a new recording of the song with some tweaks to the arrangement was released in 1973 on Stewart's album Cannons in the Rain). The song was controversial at the time of its initial release and was even the target of record burnings because some thought it was criticizing the Moon landing. But while it does have a certain degree of ambivalence, it's actually positive about Armstrong's achievement. It says that while the world still had unspeakable poverty and suffering, war, and growing environmental problems, the moment when Armstrong walked upon the Moon brought people all over the Earth together, if only for a brief moment. Armstrong's Apollo 11 crewmate Michael Collins made a similar observation about how people he met as they toured the world after their return viewed the landing as an achievement by humankind, not just one nation. Stewart's song captures this well, while reminding us that a lot of problems remain. This is most clearly encapsulated in the penultimate verse: "The rivers are getting dirty/The wind is getting bad/War and hate are killing off/The only earth we have/But the world all stopped to watch it/On that July afternoon/To watch a man named Armstrong/Walk upon the moon". It does slip from realism into mythology in the final lines when it draws a parallel between Armstrong and Adam, but even this verse is only weak in comparison with the powerful ones that came before. In any case, the song is one of the best written about the Moon landing, made all the more appropriate by the fact that another songs by its writer/performer was listened to by the Apollo astronauts on the way to the Moon.

"Armstrong,Aldrin and Collins" (Z. Manners/S. Seely) as performed by The Byrds
This song is more the kind of thing that those who protested John Stewart's "Armstrong" wanted to hear, though both share the sentiment that the achievement made people all over "proud of the human race". But this song is thoroughly positive, at least in the portion that appears at the end of the Byrds' album Ballad of Easy Rider; their recording fades out after just over a minute. One of the writers, Zeke Manners, was also a country singer and sometime comedian (among other things, he wrote a song called "Take My Wife, Please" for Henny Youngman), but if he himself recorded the song, I couldn't find a copy. It certainly doesn't come close to Stewart's song, but it is at least nice that all three of the astronauts got a mention.

"Moonhead" (Gilmour/Waters/Mason/Wright) as performed by Pink Floyd
I only first heard of this recording a few days ago, in an article about it from The Atlantic. It was an improvised instrumental jam that the band played to accompany a BBC program on the eve of the Moon landing. The same program also featured the newly released "Space Oddity", by a still relatively unknown David Bowie. While this is one of Pink Floyd's most obscure recordings, it creates the appropriate atmosphere to accompany that historic moment.

"For Michael Collins, Jeffery and Me" (Ian Anderson) as performed by Jethro Tull
A track from Jethro Tull's 1970 album Benefit that it is sung in part from the perspective of Michael Collins, who remained in orbit around the Moon when Armstrong and Aldrin went to down to the surface. While the thoughts expressed are probably more reflective of Ian Anderson's outlook than that of Collins himself, it's an interesting song with that distinctive Jethro Tull sound.

"Rocket Man" (Elton John/Bernie Taupin) as performed by Elton John
While Elton John's hit song doesn't expressly refer to the Apollo missions, they surely played a role in inspiring Taupin's lyrics, though the direct inspiration is said to be another song by the same name written by Tom Rapp and performed by Pearls Before Swine, which in turn was inspired by a Ray Bradbury story. Nevertheless, the Apollo missions were still taking place at the time the song was released (Apollo 16 launched the month after the song came out, and Apollo 17, the last mission to the Moon, launched at the end of the same year), and while those were only going to the Moon, not to Mars, the closest living equivalents to the song's Rocket Man were the Apollo astronauts. However, unlike the astronaut in the song, they understood a lot of the science and mostly likely didn't think of their jobs as ordinary nine-to-five ones. Be that as it may, this ranks along with "Space Oddity" as one of the most successful songs about space travel.

"Alan Bean" (Darren Hayman) as performed by Hefner
Like several other songs in this list, this is a new discovery. A song about one of the Apollo astronauts who struck me as one of the most personally likable, and who became a talented painter, putting his art skills to use in conveying what it was like to walk on the Moon. I don't know what Alan Bean himself thought of the song, but I would imagine he liked it (the band apparently did get a chance to speak to him at one point, but I don't know what was said). The video in the link above consists of paintings by Al Bean accompanied by the song. An interesting bit of trivia: Tom Hanks, the actor who played Jim Lovell in the movie Apollo 13, wrote a short story titled "Alan Bean Plus Four" about a group of friends making a trip around the Moon in a spacecraft that the narrator had named Alan Bean, after the astronaut.

"Rocket Experience" (Lisa Cannon) as performed by Buzz Aldrin aka Doc Rendezvous
This is something I just came across, an entertaining rap song performed by Buzz Aldrin himself in 2009 not long before the 40th anniversary of the Moon landing, when Aldrin was 79. The track was produced by Snoop Dog with help from Quincy Jones (who also produced the recording of "Fly Me to the Moon" Aldrin played on the Moon), Talib Kweli, and Soulja Boy. Of course it includes plenty of lines about Aldrin's moon walking, as well as his promoting future space missions to Mars. The "Making of" video is also pretty entertaining.

"Michael Collins" as performed by The Boy Least Likely To
I only first heard this song the other day, but it is a pretty good one. Michael Collins himself would disagree with the characterization that he was lonely, as he's said many times that he wasn't (for that matter, John Young flew alone for a short time on Apollo 10, and the command module pilots on many of the later Apollo missions were alone in orbit considerably longer than Collins), but the worry that he might have to return to Earth alone if things went badly for Armstrong and Aldrin was one he said he had at the time. The song also talks about a sentiment Collins and other astronauts have expressed, how one gets an entirely new perspective on the Earth when you see it from a distance.

"Contact" (Bangalter/Homem-Christo/Queme/Braithwaite/Mitchell/Porter) as performed by Daft Punk
This track by the well-known French electronic music duo opens with a snippet of dialogue spoken by Gene Cernan, the last person to walk on the Moon, during the Apollo 17 mission. While that's it's only direct connection to the Apollo missions, the music itself is worth a listen, even for those who like me don't listen to much electronic music. It makes an interesting contrast to "Moonhead".

"Tracy's Song" as performed by No More Kings
This evocative song is also closely connected to Gene Cernan and his trip to the Moon on Apollo 17. Tracy was the name of Cernan's daughter, and at one point he traced her initials in the lunar dust. Though as with a number of the other songs written as if from the astronaut's perspective, it may not be a completely accurate reflection of Cernan's own feelings, the basic facts are accurate and the rest, accurate or not, creates a poignant mood. Incidentally, there was also a large rock on the Moon that was examined by Cernan and Harrison Schmidt which later was nicknamed "Tracy's Rock". One of the more commonly seen photos from the Moon, taken by Cernan, shows Schmidt and the lunar rover near the rock. It seems that fellow moonwalker Alan Bean told Cernan he was going to do a painting of it, and Cernan said if he'd known how popular the picture would be he'd have written his daughter's name on it. So Bean painted the scene as if he had done so, which has led some to believe inaccurately that Cernan actually wrote her name there, when it was apparently somewhere else. Also, unlike in the song or in Bean's painting, Cernan wrote her initials, not her full first name, and he apparently didn't think to take a picture of them. But, as he said in later interviews, they'll still be there for people to see when humans finally return to the Moon.

"Tranquility Base Hotel & Casino" (Alex Turner) as performed by Arctic Monkeys
Tranquility Base, of course, was what the Apollo 11 landing site was called. This song is the title track to the Arctic Monkey's 2018 album, and is sung from the perspective of a receptionist at the hotel and casino in question and is a satire on sterile modern life. The band's vocalist, Alex Turner, sounds quite a bit like David Bowie on this song and even more so on the other song from the album that I listened to, "Four Out of Five". The connection with the Moon landing is basically just in the title and the concept of a hotel and casino at Tranquility Base, something which of course should never be allowed to be built in reality - though it may be unavoidable if Moon tourism ever becomes a big thing, as Tranquility Base will certainly be one of the biggest attractions.

"Charlie Duke Took Country Music to the Moon" as performed by the Stryker Brothers
This is another recent release that I just discovered the other day, and it relates the true story of Apollo 16 astronaut Charlie Duke taking a tape of country music on his flight to the Moon. It even incorporates the spoken introduction that Merle Haggard recorded on the original tape, presumably provided by Charlie Duke himself. Duke is one of the last four living moonwalkers and, along with the late Al Bean, strikes me as one of the most easy-going and likable of the Apollo astronauts. He also played a big role in Apollo 11, as he was one of the Capcoms (capsule communicators) who were responsible for relaying whatever messages Mission Control had for the astronauts. He was Capcom when Armstrong and Aldrin landed on the Moon. As for the song, since I'm not a huge country fan I can't say I like it as well as most of the others on this list, but it's not bad, and it tells the story well.

Other Space Songs:
Of course a list of all the space-related songs out there could go on forever. I played a few on my recent show, like the Byrds' "Mr. Spaceman", Pink Floyd's "Astronomy Domine", Jimi Hendrix's "Up From the Skies", David Bowie's "Starman", Brian Eno's instrumental "Under Stars", Eric Idle of Monty Python's "Galaxy Song", Blur's "Far Out", Taiwanese rocker Wu Bai's "太空彈", Taiwanese aboriginal band Matzka's "089", Brian May's "New Horizons" and several more. But of course there are far more than can be fit into a two hour show, so there were great songs I had to leave out, including Hendrix's "Third Stone from the Sun", Pink Floyd's "Interstellar Overdrive" and "Set the Controls for the Heart of the Sun", Bowie's "Life on Mars?", Genesis's "Watcher of the Skies", Stevie Wonder's "Saturn", the Police's "Walking on the Moon" and Muse's "Supermassive Black Hole" and "Exogenesis: Symphony", among others. One I just discovered deserves special mention here, as it has a little bit of a relationship to the Apollo missions, though somewhat more indirect than the songs listed above. The song is Rush's "Countdown", which is about the launch of the first orbital Space Shuttle flight, which took place in 1981 and was watched by the band in person. The track includes recordings of dialogue spoken by mission control and the two astronauts on the Space Shuttle, John Young and Robert Crippen. John Young, of course, was also an Apollo astronaut (and before that a Gemini astronaut) and flew to the Moon twice (one of only three people to do so), walking on it during Apollo 16 along with Charlie Duke. Since the Rush song is about the space shuttle, not Apollo, I didn't include it above, but it's a reminder of what an amazing career John Young had - the first person to fly six space missions (the current record is seven, held by two astronauts, with a number of others tied with Young at six), the longest career of any astronaut, and the only person to have piloted and commanded four different types of spacecraft (Gemini, the Apollo command module, the Apollo lunar module, and the Space Shuttle).

A final special mention goes to a song which has no connection to Apollo but is perhaps my favorite song about space travel. It's one I played on my show and heard live at Starmus, performed by its composer in a new arrangement, backed by an orchestra. I refer to the Queen song "'39", written by the band's guitarist Brian May, who also sang lead vocals on the studio version from the band's masterpiece A Night at the Opera (Queen's lead vocalist Freddie Mercury sang backing vocals on the studio version, though he sang lead when they did the song in concert). May studied astrophysics (he later finished his PhD, so he is now an actual astrophysicist), and so while the song might be mistaken for a tale about a sea voyage, a closer listen reveals that the "milky seas" in question are the Milky Way galaxy. What's more, the song is perhaps the only major rock song to hinge on Einstein's theory of relativity, specifically the time dilation that would occur if one were to travel at a speed close to the speed of light (probably not likely to ever happen in reality, but this is a science fiction story). The voyagers leave in the year '39 (the century is deliberately not revealed) and return a hundred years later, having only aged one year. It's very cleverly done, and the catchy melody is a match for the lyrics. It certainly should be ranked among the all time best space related songs, along with obvious ones like "Space Oddity". Brian May's performance of the song at the recent Starmus is worth checking out too.

Monday, December 31, 2018

A Brief Update

Yes, I'm still alive and (mostly) well, and still involved in a lot of music related activities, aside from what personal listening I manage to find time for. But as is readily apparent, I've gotten out of the habit of regularly updating this blog. It's not for lack of things to write about; there're plenty of albums, songs and groups I could comment about, and I've even had occasional personal news that would have been worth reporting here. For an example of the latter, my radio show on Alian 96.3 was nominated for a Golden Bell Award for Non-Popular Music Radio Program, and I myself got a nomination as host. Though I didn't win, getting nominated was recognition enough. But as this blog is less for that kind of news and more for relatively in depth musings on music related topics, with a particular focus on writing in English (as I think I should set up a separate blog for things I manage to write in Chinese about Taiwanese music, though I will occasionally refer to them here), most future entries will still be along those lines - which means they'll only appear when I get around to writing something. Until then, happy new year and happy listening!


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