Fury vs. The Secret Life of Arabia

Song:  Fury
Album:  3121
Year:  2006

Prince brings a hard-driving guitar-led energy to this song that seems to really be about nothing other than a reference to the saying "Hell hath no fury like a woman scorned".  It's a good enough sound but not all that good enough to play again.

I feel like either Prince was rushing things in the late 2000s or I just wasn't paying attention.  I seem to recall that Musicology ('04), 3121 ('06) and Planet Earth ('07) all received positive reviews and I know that I listened to them when they were released, but nothing stuck.  There was nothing exciting there that would make me want to choose that over, oh, I don't know, Chumbawumba.  I need something that either makes me want to roll down the windows in my car and sing loudly or keep the windows up and sing poorly.  Nothing on any of these three albums has ever struck me in that way.

Verdict:  3/5 stars

Would I sing it at karaoke?  No.

Song:  The Secret Life of Arabia
Album:  Heroes
Year:  1977

Somehow, given my moderate familiarity with the Heroes album, I am not all that familiar with this song.  Maybe it's because it's the final cut on the album, arriving after three brooding instrumentals (Sense of Doubt, Moss Garden and Neukoln); I can imagine myself switching gears in that time and never getting to the final track.  I'm sure there was a measure of artistry in sequencing the album in this manner and given the right combination of substances I'll bet it all comes very clear.  That being said, sometimes the most artistic and/or most critically acclaimed works are not always the easiest to digest.  That's not to say that I dislike anything about this track or the album,  just that it's not my go-to Bowie despite it being heralded as one of his best albums.

As for the track in question, the guitar is jangly, the beat hypnotic, even somewhat reminiscent of disco.  All it needs is a string section and maybe some cowbell.  The tempo makes me want to bob my head; in fact, I'm kinda dancing in my seat as I write this.  Bowie's vocal are strong and soaring.  Now that I listen more closely, this is clearly the inspiration for Herb Alpert's 1980 hit Rise!

I like it!  And I get why others may not.  It's out of character for the album.  It's a bit too bouncy for something rooted in a Berlin residency.  But it's also the wonderfully playful side of Bowie that I love so much.

Verdict:  4/5 stars

Would I sing it at karaoke?  Given the right circumstances, sure.

Winner:  The Secret Life of Arabia

Running Score:  Bowie 28, Prince 18

Past, Present, Future - Can't You Hear Me Calling

Just recently happened upon the band Crooked Still, a group out of Boston that takes the bluegrass formula and tweaks it ever so slightly to make it something uniquely fresh.  The opening track on their Shaken by a Low Sound album is a Bill Monroe oldie, and one that I thought sounded somewhat familiar to a Ricky Skaggs song that I've loved for some time.


Here's Bill Monroe & His Bluegrass Boys from 1961

And the Crooked Still version from 2006

And finally, the song Another Night from Ricky Skaggs' Bluegrass Rules album released in 1997

While Crooked Still has kept the song largely intact but somehow made it more intimately yearning, Ricky Skaggs has altered the melody, tempo and lyrics to create something hauntingly similar yet very different.

Or at least that's what I thought until I dove into the writing credits and discovered that it was written by someone named Hobo Jack.

Isn't this fun?

So the two songs, Can't You Hear Me Calling and Another Night, are not so much derived one from the other as they are parallel extensions of a fairly common bluegrass chord progression.  That the sentiment of longing and loneliness is the theme of both may be happenstance or may be the nature of bluegrass music.  I don't know and I don't care.  They are both brilliant songs and I welcome further interpretations.

Past, Present, Future - Ruby Soho

Watched Dazed & Confused for probably the hundredth time this past weekend and am only now recognizing  that each Senior Year character seems to have a corresponding Freshman Year character.  This theory need some development.  What I can say for sure though is that the scene with Pink, Wooderson and Mitch walking into The Emporium is a clear representation of past (Wooderson), present (Pink) and future (Mitch).  This idea was rumbling around my head when I happened upon the following:

Past:  Ruby Soho by Jimmy Cliff

Present:  Ruby Soho by Rancid

Future:  Ruby Soho by Vampire Weekend

Set aside the fact that the Jimmy Cliff version, though it sounds like older reggae, was recorded in 2012, a full 17 years AFTER the 1995 original by Rancid.  Quite a compliment for a veteran reggae star to give to a bygone punk band!  And the Vampire Weekend version, regardless of whether you love it or hate it, was recorded in 2010.

You might argue that I have the past present and future mixed up.  Strictly speaking it should be Rancid, Vampire Weekend and Jimmy Cliff, which kinda flips the present-day reality on it's ear.  I'd argue that Vampire Weekend is far more relevant today (which doesn't imply they are more vital) than either Jimmy Cliff or Rancid.  And while Rancid is not exactly "present" with a 24 year old song, their sound is still far more energetic than 90% of what you will find on the radio.  They sounded good then and they sound good now, making their Ruby Soho the definitive version.

And what does this have to do with Prince and/or Bowie?  Nothing.  Absolutely nothing.

Get Loose vs. Queen Bitch - Live

Song:  Get Loose
Album:  Crystal Ball
Year: 1998

A re-imagined, extended version of the track Loose! from the 1994 Prince release Come.  It's a late 90s club banger which on it's own is a capable jam but which I'd imagine a capable DJ might mix, rearrange and transform into something transcendent.  Meant to be played loudly, preferably with dedicated speakers for the bass track.  Lyrics are practically non-existent and frankly unnecessary.  I like this one.  It's a nice surprise!

Verdict:  4/5 stars

Would I sing it at . . . oh never mind

Song:  Queen Bitch - Live
Album:  Live Santa Monica '72
Year:  Ummmm . . . 1972?

As far as I can tell this particular live version is a faithful rendition of the album cut.  You can read my take on the album version here.  I gave it 4/5 stars in that post but given the poorer audio quality of the live version I am going to have to bump it down a notch to . . .

Verdict:  3.5/5 stars

Would I sing it at karaoke?  Still a yes.

Winner:  Get Loose

Running Score:  Bowie 27, Prince 18

Calhoun Square vs. Sister Midnight - Live

Song:  Calhoun Square

Album:  Crystal Ball

Year:  1998

Named after a shopping district in Minneapolis, this track starts out with a nice funky bass line with some organ hits and a fairly straight-forward drum track.  The lead guitar cuts in to transform the chorus into more of rock jam a la Living Colour and then back to the funk-tinged verse.  It would have been groundbreaking in the late 80s and perhaps still was when recorded in 1993.  Twenty-one years after it's release, however, it's just meh.  But at least it's an elongated and hopeful meeeeeeeh rather than a blunt, dismissive, MEH!  

Verdict:  3/5 stars

Would I sing it at karaoke?  Doubtful

Song:  Sister Midnight - Live

Album:  A Reality Tour

Year:  2004

Written by David Bowie waaaaaay back in 1977 for Iggy Pop's inaugural solo album The Idiot, Sister Midnight is a tune that seems to be about an oedipal complex but is in reality about drug addiction.  (For what it's worth, the song China Girl, also an oldie from The Idiot, is not really about a girl from China).  Oh the complex and wonderful masquerade that is metaphor!  I am quite familiar with this song and have always loved Iggy Pop's dark, droning and gritty take on it.  This version retains the killer bass line but adds in some excellent hi-hat percussion work and some raging guitar licks that turn it into a rocker.  It's no less gritty . . . just wonderfully loud.

Verdict:  4/5 stars

Would I sing it at karaoke?  Absolutely.  I can't wait to!

Winner:  Sister Midnight - Live

Running Score:  Bowie 27, Prince 17

Deconstruction vs. Alabama Song (Aufstieg Und Fall Der Stadt Mahagonny)

Song:  Deconstruction
Album:  The Rainbow Children
Year:  2001

From the top of his game in my last post to the deepest depths of his lows in this one, I give to you the utter mess that is Deconstruction from the album that seems specifically designed to turn you off of Prince forever.  This track leads off with that stupid electronically slowed-down and deepened voice.  I don't know if this is supposed to be referencing the fall from grace or the literal destruction of the world, and frankly I don't care.  The solo guitar work in the latter half of the track is decent, but overall this is just a hot mess.

Verdict:  1/5 stars

Would I sing it at karaoke?  I hope to never mention it again, much less sing it!

Song:  Alabama Song (Aufstieg Und Fall Der Stadt Mahagonny)
Album:  Stage
Year:  1978

Egad!  The tale of this song is so convoluted and boring that I don't even want to get into it.  Alabama Song is an English translation of a 1925 song by German playwright/poet Bertolt Brecht.  The Doors recorded a version in 1966 and Bowie started incorporating the song on tour in 1978.  It was released as a single a year later, presumably only selling due to the stripped-down B-Side of Space Oddity.  The song itself is far too theater-y for my tastes.  Jarring with odd key and tempo changes, I imagine Bowie must have had a good time singing it but it sure isn't anything I want to hear.  Simply not his strongest moment.

Verdict:  1/5 stars

Would I sing it at karaoke?  Not a chance.

Winner:  I dislike both of these songs but am giving it to Alabama Song simply because the subject matter is not as blatantly discriminatory as the pseudo-religion upon which Deconstruction is based.

Running Score:  Bowie 26, Prince 17




Palate cleanser . . .

It's not what you think.

When Doves Cry vs. Rubber Band

Song:  When Doves Cry
Album:  Purple Rain
Year:  1984

What is there to say about When Doves Cry that hasn't been said before?  It's a masterpiece.  The intro guitar is amazing.  The substitution of Prince's weird vocal track in lieu of a bass line is inspired.  The overlapping vocals are genius.  The little keyboard riff is instantly recognizable.  What's not to like?

Well, if you're a Bruce Springsteen fan, you may not like the fact that this was Prince's first number one hit, charting on July 7, 1984 and remaining at #1 for 5 straight weeks, resulting in The Boss' "Dancing in the Dark" being held at #2.  This is the closest Springsteen has come to having a #1 hit.

Verdict:  5/5 stars

Would I sing it at karaoke?  I believe I have.  Not well . . .

Song:  Rubber Band
Album:  David Bowie
Year:  1967

It would have taken a stellar Bowie song to go up against When Doves Cry, and Rubber Band is not that song.  It's somewhat of a novelty song, best described by the blog Pushing Ahead of the Dame.

Seriously . . . follow the link and read the blog.  I'll wait.

Back already?  Well, I have no more to add.  I'm not enthralled with this song.  I don't need to hear it again.  The Spinners, yes; this mess, no.

Verdict:  Bowie's Rubber Band 1/5 stars.  (The Spinners' Rubber Band Man 5/5 stars).

Would I sing it at karaoke?  No.  Neither version.  Bowie's because it's not good and the Spinners because I'm not worthy.

Winner:  When Doves Cry, of course.

Running Score:  Bowie 25, Prince 17

Walk Don't Walk vs. God Only Knows

Song:  Walk Don't Walk
Album:  Diamonds and Pearls
Year:  1991

A capable but unremarkable track from Prince's first album with the New Power Generation.  This track fits in nicely with the mélange of styles exhibited on the album and, like most of the tracks, doesn't detract from the album but doesn't shine  either.  I do like the inclusion of the brief car horn riff, though it does feel like someone was just playing with their new sampling keyboard.

Verdict:  3/5 stars

Would I sing it at karaoke?  I wouldn't NOT sing it!

Song:  God Only Knows
Album:  Tonight
Year:  1984

Though this is a cover of a Beach Boys song, I did not know that when I bought the Tonight album in 1984.  Teenage me wasn't necessarily into slower romance songs at that time but I appreciated the vocals and thought it was a nice tune back in the day.  It's grown on me over time and I very much prefer it over the poppy, boppy Beach Boys version (though to be fair I have never liked the Beach Boys despite trying to listen to Pet Sounds several times . . . I just don't get it).

Verdict:  4/5 stars

Would I sing it at karaoke?  I'd have to practice quite a bit but sure.

Winner:  God Only Knows

Running Score:  Bowie 25, Prince 16


Postscript:

Every once in a while my Spotify will hit me with a cool tune when I reach the end of my Prince v. Bowie playlist.  This one popped up today and I thought it worthy of sharing:

Interlude

U KNOW vs. 1984 - Live

Song:  U KNOW
Album:  Art Official Age
Year:  2014

The teaser on Spin.com reads thusly:

It’s Labor Day, and Prince knows the importance of letting loose. That’s why the rock legend’s new single, “U Know,” taken from his upcoming album Art Official Age (September 30) is a perfectly playful robotic trip through his Purple world with a little help from 3RDEYEGIRL. It’s smooth and sexy in all the right places, with the musician’s vocals transformed into a steady digi-drawl for the verses, before picking up steam and soul for those billowing choruses. It’s the kind of futuristic R&B that Prince prodigy Janelle Monáe has been letting loose for the past few years. 

They got one thing right(ish), it IS (one day after) Labor Day!  Coincidence or divine providence?  I'm going with coincidence given that this track is not all that strong and the Spin write-up not all that accurate.  The voice is auto-tuned, not "robotic".  The song never really picks up steam.  The "help" from 3RDEYEGIRL is little more than "uh-huhs" and "yeahs"  And referring to Janelle Monae as a Prince prodigy, though technically correct, is a bit insulting in this context if you are making the argument that Prince is following in HER footsteps on this one and not vice versa.

For all that it's not an especially BAD track, it's just not an especially memorable one.  I think the auto-tune is killing it for me.  It's an over-used trope and not at all needed from an accomplished vocalist such as Prince.  I don't dig the couple instances of back-masking . . . Prince did enough of this in the 80s and should have laid it to rest by now.  And there are no outstanding flourishes or memorable moments.  It just sits there and exists.

Verdict:  3/5 stars

Would I sing it at karaoke?  No.  Too boring.

Song:  1984 - Live
Album:  David Live
Year:  1974

A capable rendition of a song that may be considered a minor hit in the Bowie catalog.  The live performance doesn't stray far from the studio version though the starting (clarinet?  oboe?) lends it an eerie touch.  I've always liked the wah-wah guitar work that makes this one start off as if it's going to be a disco number and maybe that's what keeps it oddly relevant; it's a 45 year old song that still breaks the mold of other "classic rock" hits with which it might be bundled in an afternoon rock block.  I've always liked this one and still do.

I should note that the video above is from the Dick Cavett Show and not from the David Live album, though both were recorded in 1974.

Verdict:  4/5 stars

Would I sing it at karaoke?  Yes!!!

Winner:  1984 - Live

Running Score:  Bowie 24, Prince 16