As a fan of a wide variety of popular (and not-so-popular) music from the 1950s (and sometimes even earlier) up through the present, one of my bucket list projects for years has been to put together a list of my 100 favorite songs of all time. At some point I decided that, once I got around to figuring that out, I could put it out on a blog, for the infinitesimally small proportion of the Internet world that might be interested. So, here we are. While the Top 100 will be a major focus, I also plan to post on a variety of other musical (and occasionally non-musical) topics, in which you may or may not be interested. (If a particular posting doesn’t ring your bell, you’re only a few clicks away from a dancing cat video on YouTube.)

Saturday, November 22, 2014

Shuffle #36 (November 22, 2014)


Come Out And Play – The Offspring
Strength – The Alarm
Born To Run – Emmylou Harris
(I’m Not Your) Steppin’ Stone – The Monkees
Let The Rough Side Drag – Jesse Winchester
Use Me – Bill Withers
Black Coffee In Bed – Squeeze
I’m A Good Woman – Cold Blood
Yakety Yak – The Coasters

Friday, November 21, 2014

Jimmy Ruffin


I wanted to be sure to note the death of soul singer Jimmy Ruffin on Monday. The older brother of Temptations singer David Ruffin certainly wasn’t one of Motown’s biggest songs, but he did record “What Becomes Of The Broken-Hearted”, one of the greatest Motown singles ever.

Thursday, November 20, 2014

#7 Canadian Railroad Trilogy -- Gordon Lightfoot (1967)



This song is the masterpiece of Lightfoot’s illustrious career, which is certainly not damning with faint praise. The song was actually commissioned by the Canadian Broadcasting Corporation (CBC) for a special New Year’s Day broadcast kicking off Canada’s centennial year. It’s an extremely ambitious work, with three distinct parts (hence the “Trilogy” in the title), with the initial two reprised at the end. Starting with the opening line – “There was a time in this fair land when the railroad did not run” – Lightfoot describes the majestic beauty of his native land, the excitement of its growth and development, and the promise that the building of the Canadian Pacific Railroad would bring. Many might have stopped there, leaving things in a feel-good, heart-warming bowl of mush. Gordon, however, spends much of the song recognizing and celebrating those who were on the front lines of the operation, and shying away from neither the physical (“Swingin' our hammers in the bright blazin' sun … bendin' our backs till the long days are done”) nor emotional (“Across the wide prairie our loved ones lie sleeping beyond the dark oceans in a place far away”) costs. And I don’t think anyone else would have ended a commissioned song for a government agency with the line “Many are the dead men, too silent to be real.”

With apologies to Little Feat, Warren Zevon, Steve Goodman, and many others, this one gets my vote for the best train song of all time.

Monday, November 17, 2014

#8 You've Lost That Lovin' Feelin' -- The Righteous Brothers (1965)



Phil Spector may not be the world’s most saintly human being, but he certainly could produce great records, and Barry Mann and Cynthia Weil could write great songs. Put them together and add the Righteous Brothers to the mix, and you have one of the all-time classics of the rock era. The Righteous Brothers had a few other great tracks during the year or so they spent with Spector, and did some nice work afterwards, but they never surpassed this one; they own the song to such an extent that it makes the 1980 Hall & Oates remake, along with every other version ever recorded, completely and utterly gratuitous.

Serendipity #26


1952 Vincent Black Lightning – Richard Thompson


Heard 11/13/2014 around 6:00, at Potbelly (Rockville)

The Chad Mitchell Trio and Friends: The Farewell Concert, Bethesda Blues & Jazz Club, 11/15/2014


The Chad Mitchell Trio was one of the better-known groups of the late-fifties-early-sixties folk music revival, although they never achieved the crossover success that was enjoyed by The Kingston Trio or Peter, Paul and Mary. (They actually recorded “Blowing In The Wind” before PP&M did, but their record company didn’t want to release it, and the rest is history.) The current incarnation includes original members Chad Mitchell and Mike Kobluk, who alternated on lead vocals, along with Ron Greenstein. There’s a lot of biographical material on their web site, and a nice third-party take on their career by MTV.

The show was, in a word, wonderful. They did a nice mix of material, and the voices of Chad and Mike are amazing for anyone, much less for a couple of guys born in the 1930s. The set list, which I believe I have correct, is below. After they finally left the stage, the organizers ran some video highlights of their career, after which all of the evening’s musicians came back on stage to send everyone home with “Last Night I Had The Strangest Dream”.

Note that this was actually only their penultimate performance; they will be doing their “Farewell At Sea” on a Traveling Troubadour cruise in March. 

Chad Mitchell Trio set list:
  1. Mighty Day
  2. My Name Is Morgan
  3. Alma Mater
  4. Four Strong Winds
  5. Blowing In The Wind
  6. The Tarriers Song
  7. The Whistling Gypsy
  8. The Sinking Of The Reuben James
  9. What Did You Learn In School Today
  10. Business Goes On As Usual / Johnnie (my personal favorite)
  11. Vaichazkem
  12. Unfortunate Man
  13. Tell Old Bill
  14. James James Morrison Morrison
  15. Lizzie Borden
  16. The Marvelous Toy 

Three acts opened the evening. CMT contemporaries The Gaslight Singers started things off with two songs, followed by local duo Side by Side, who did a well-received seven-song set, highlighted by a couple numbers I hadn’t heard them do before (Donovan’s “Catch The Wind” and Del Shannon’s “Runaway”). Tom Paxton then wowed most of the crowd with a ten-song performance including the classics “The Last Thing On My Mind” and “Ramblin’ Boy”.

This was our first trip to the Bethesda Blues and Jazz Club, which is the latest reincarnation of the old Bethesda Theater. There is still some theater-style seating in the rear, along with a bar, although the front two-thirds or so is filled with tables, most of which seemed to accommodate four people. You can take the “filled” literally, as the tables were placed so close together that getting in and out was quite a challenge. Fortunately the sound was good, as was the food (we tried the seared grouper and stuffed chicken breast), although at $24-26 the entrees were more expensive than at other venues we’ve visited recently.