A list of songs that draw their name from the world of finance (updated periodically)
Bitches & Money (Master P featuring The Real Untouchables)
For the Love of Money (The O’Jays , Utopia)
Gold (John Stewart & Stevie Nicks)
Last Dollar On Earth (Utopia)
Lawyers, Guns and Money (Warren Zevon)
Money (Pink Floyd)
Money For Nothing (Dire Straits)
Money Talks (AC/DC)
Take The Money And Run (Steve Miller Band)
The Big Money (Rush)
Rich Girl (Hall & Oates)
For those unfamiliar with our organization, DPAC, the Dork Prevention Advisory Committee has been entrusted with the ardent task of upholding, maintaining and preserving standards of cultural coolness & integrity for successive generations. We conduct ongoing policing of pop singers recommending safeguards and protocols with the noble aim of curbing, avoiding and eliminating Dorky Dialogue in popular music.
Our panel of experts have compiled a series of reports entitled “Talking To Your Bandmates During The Song: Case Files And Conclusions.” In addition to this website, copies of our reports will be available at all Federally funded government offices and institutions including but not limited to your local DMV, Post Office, and Public Library.
DISCLAIMER: DPAC should not to be confused with 2–Pac, nor is in any way affiliated with Self Help author Deepak Chopra.
Abstract & Origins
Dorky Dialogue is indeed a razor’s edge many have slipped from iconified grace and wound up impaled on Dork Stalactites in the corny canyon years or decades later. Such dialogue risks launching self–inflicted salvos at their own careers and creates blundering boomerangs as their own “Towers of Babble” return to sender. CAUTION is the watchword for unfiltered enthusiastic utterances in the studio or onstage, impromptu or planned.
DPAC aims to erect a “Speech Line: Do Not Cross” Auditory Police Tape so future musicians and entertainers may refer to maintain a successful “Bell Curve of Cool” throughout their careers as well as protect the airwaves and internet from Nerdy Noise Pollution. Our Publication SM 58: Dampening Dorky Dialogue (see below), provides helpful guidelines for singers to learn when to palm mute their given instrument. The Singer Modification 58 Protocols outline safe and unsafe lead vocal territories in regards to unnecessary chatter, gibberish, babble, bragging, ego stroking, superfluous filler, fluff, Paul Stanleyisms, etc.
Showing Some Love Towards Cover Bands
The first thing such Inter–Song Socializing (ISS) or Inter–Band Dialogue (IBD) on a recording does is it renders a particular song Cover Tune Unfriendly (CTU). Before engaging and risking such utterances, ask yourself “What are the odds cover tune band members will have the same names and/or play the same instrument?” Or be the same gender for that matter. If you are not good with math like a singer, the odds are about that of a Beatles reunion, Charlie Manson getting a record deal, or another Tiffany album.
Acceptable Usage and Examples
Neneh Cherry saying “Hey DJ…” in the intro to her hit track “Buffalo Stance” is one such example. Note that this is acceptable as Ms. Cherry refrained from naming the particular DJ, and just telling him (or her) to “Stop that effing scratching and give me a beat!”
Vanilla Ice prodded “Yo VIP–let’s kick it!” to get his DJ to press a button and get the the synth drums going on “Ice Ice Baby.” Again no one is insinuated by name and thus cannot be charged as an Accessory to Nerdy.
Steve Perry shouting after the piano intro to “Don’t Stop Believin'”, “Neil!” to Neil Schon to cue in the 4 note guitar lick build that increases in speed and crescendos with the drums entering. Steve did this live but NOT on the actual sound recording which would have definitely been North of dork and South of cool.
Frank Zappa and The Mothers Of Invention could get away with lots of inter band conversation onstage because it was musical theatre and part of the show.
Rap & Hip Hop have taken Inter–Song Socializing to new plateaus, talking to and about themselves with a frequency density far greater than that of other genres as they do not seem concerned with having their material covered by bands in nightclubs. Since it is so much a part of the genre, we have determined a hands off policy is the recommended approach.
When did all this Inter–Song Socializing (ISS) start?
DPAC has determined its origins seem to have been with James Brown, shouting “MACEO!!” To Maceo Parker his horn player. However these were live recordings and part of the spontaneity of being in the moment.
Note that doing so on an actual STUDIO recording is a logical contradiction, since if a band member is dumb enough to not know when to solo or play a certain part, then why would they be in the band to begin with? One presupposes they ARE in the band because they are competent on said instrumentation. ISS on recordings is further innecessitated when hiring session players for an album, who it can be safely assumed, know their ass from their elbow.
One recommendation is yelling out the name of the instrument about to take spotlight such as “Guitar!!” In regards to such solos, riffs, fills and licks, fans already know it’s coming and who’s playing it, so doing this in substitute of a bandmates name can prevent a dork meter spike and keep you safely south of dork. Bret Michaels finally learned this wise strategy on Poison’s sophomore album with the track “Nothin’ But A Good Time” after his horrendous transgression to C.C. on “Talk Dirty To Me.”
Consider the fact that your band members will already be listed in album liner notes and also on your website. You also get to introduce them live on stage every performance. Is there really a need to have such a conversation during the song?
Just Shut Up And Sing!! Well, you know what we mean—avoid mentioning your bandmates by name and at all during recording sessions. (The SM–58 Gold Standard—our preferred recommendation)
Sharpening Your Cool IQ
Imagine a Steely Dan recording session where Donald Fagen yells out to Jeff “Skunk” Baxter“Go Skunk!” Or to Elliott Randall, “Elliott!” on the opening solo of “Reelin’ In The Years.” A voice sample of E.T. The Extra Terrestrial saying “Elliott”, although getting points for originality, still fails to be a Trojan horse in the cool army.
Picture “Tom Sawyer” with Geddy Lee saying “Gimme a roll Neil!” to Neil Peart right before his first gargantuan drum fill. Then “How about another?”, and finally a “One More time.” Or alternately after the 3 big drum fills, Geddy saying “Wow, Neil was on a roll!” in some form of schlocky musical slapstick.
Singers are most often the guilty parties. Think about how dumb it would sound for another band member telling the lead singer to sing. Can you picture Jimmy Page telling Robert Plant“Scream Robert!” Or Keith Richards telling Mick Jagger“Sing unintelligibly like you always do Mick!”ISS seems to be a symptom of Lead Singer Disease (LSD) as guitarists, drummers, bassists, pianists and keyboardists, etc. are not prone to such fanciful faux pas.
Did we ever hear Freddie Mercury telling guitarist Brian May“Go Brian go!?” In the classic Rob Reiner Mockumentary This Is Spinal Tap, the track “Gimme Some Money” on the band’s CD makes fun of Inter–Song Socializing. It’s a retro 60’s Flower Power song, where lead singer David St. Hubbins (Michael McKean) says to guitarist Nigel Tufnel (Christopher Guest), “Go Nigel Go!!” as he begins a wimpy guitar solo replete with stellar garage band cacophony.
“Gimme Some Money” is a parody song. DPAC exists to prevent parody from unintentionally becoming reality, and any Careless Whisper or Momentary Lapse Of Reason from becoming a parody later on. That being said, we wish you a long and productive career filled with years of Certified Dork Free Recordings (CDFR).
Poison “Talk Dirty To Me”
“C.C. pick up that guitar and talk to me”
Bret Michaels yells out “C.C. pick up that guitar and talk to me” to C.C. DeVille on Poison’s debut album during the track “Talk Dirty To Me.” It’s like what the hell was C.C. doing prior to this in the song—NOT playing guitar? Sitting on his monitor amp painting his fingernails? It makes little sense. One needs to factor in and consider before doing so “Will this still sound cool 20 years from now?” Because unless you’re in a tribute band, and dress and pretend to be the actual members of the original band onstage, such lyrical appendages are better omitted.
Def Leppard “Armageddon It”
“Come on Steve, get it!”
Joe Elliott talks to one of his guitarists on the track “Armageddon It” off of the monstrously successful Hysteria album. He calls out to Steve Clark, “Come on Steve get it!” right before the guitar solo. Was this encouragement because Steve flubbed the last 5 takes in the studio? DPAC wonders if there could be some kind of curse in doing this—In Def Leppard’s case, this was Steve Clark’s last completed album (due to his untimely death) and our friend C.C. got fired from Poison later on as well.
Mötley Crüe “Girls, Girls, Girls”
“Hey Tommy check that out man What Vince where? Hey hey right there (whistle) Hey baby going somewhere?”
Vince Neil and Tommy Lee are obviously not at a strip club during this conversation even though that’s what most of the song is about—a tour of the world’s finest nude entertainment establishments. Unfortunately due to the global recession, some of the strip clubs mentioned in the song are no longer in business.
But does this dialogue have real world authenticity? Like any girl wouldn’t be like “Who are these juvenile douchebags?” Like they would say, “Oh that’s okay, they’re in a Rock Band so high school kinda stuff is still pretty cool. They’re socially exempt from being any more sophisticated than a cruder construction worker Cassanova to be successful with women. They’ve got motorcycles so they MUST be cool.” Ah, the ‘ol Harley hat trick.
Although the strip club bonding Bromance between Vince and Tommy was some drunken drooling over imaginary Double–D’s, fortunately the motorcycle starting up in the song’s intro was real as one of our Board of Directors knows the person who did it on the actual studio recording.
Rick James “Super Freak”
“Temptations Sing!” “Blow Danny!”
Rick slipped up twice in his hit dance track “Super Freak.” First he tells his backup singers, “Temptations Sing!.” We’re sure after a successful recording career prior to Rick getting his first pubes, that Motown veterans The Temptations know the difference between choruses and verses and when to get their backing vocals on. And hiring session musicians as experienced as The Temptations requires conductor caliber instructions from Maestro James during the track?
Rick also tells his sax player when to take a standard 8 bar solo, with “Blow Danny!” Really? Like Danny would do a solo during the verses when Rick was singing about some very kinky girl? We think not. There are “Lead Drummers” who inappropriately intervene thunderously real or imagined virtuosity over lyrics but the phenomenon of “Lead Sax Players” has yet to spike our grievance and peeve meters.
Prince And The Revolution “Computer Blue”
“Wendy? Yes Lisa. Is the water warm enough? Yes Lisa. Shall we begin? Yes Lisa.”
Although we’ve never heard Stevie Nicks or Christine McVie yell out “Go Lindsey” to Lindsey Buckingham telling him when to rip into a guitar riff or solo, one example of women talking during the song is on the Purple Rain Soundtrack. Our research has indicated female singers don’t tend to talk to their band members by name as frequently as their male counterparts. The intro to “Computer Blue” being a notable exception. The track begins with a conversation between Wendy and Lisa with no discernible reference to even playing an instrument.
What does this “girl talk” conversation have to do with a song entitled “Computer Blue?” Your guess is as good as ours. Incidentally, you shouldn’t have water anywhere near your computer as it can short it out and damage the circuitry. Yet certain questions still remain as to what they’re actually talking about. Our panel has narrowed it down to the following possible scenarios:
Making herbal tea
2. Shaving their legs
3. Making sure the pasta they’re cooking turns out Al Dente
4. Visiting a day spa while on tour
Regardless, don’t let no thermometer stop you from purifying yourself in the waters of Lake Minnetonka:
This concludes Case File Installment #1. And remember:
Some singers get hip replacements, others need lip replacements. Don’t get a D in Dork, score a C in Cool! Loose Lips Sink Hits!!
Being a video professional, I’ve been to more weddings than 99.9% of the population. I’ve worked on weddings in several states and of various ethnic and religious ceremonies; Church weddings, beach weddings, country club weddings, backyard & banquet hall weddings, lake weddings—even at an aquarium and on a yacht.
I’ve heard the songs (Barry Manilow writes them if I recall) numerous DJs play at these as well as the collective “Borg Booty Mix” of current Wedding Top 40 and Wedding’s Greatest Hits. Maybe Rhino Records will walk down that aisle in the future.
One wedding I had to reposition my camera during the ceremony then felt something dripping on me—my vest had to be dry cleaned afterwards as the back of it was covered with caked on candle wax. Candles were melting from the crossbeams of the historic rustic barn and I looked like I just arrived from a Dominatrix appointment for the rest of the evening.
“I’ll Be Good To You” is more than worthy of a couple’s first dance. It’s a tune deserving inclusion into matrimonial mixes and wedding video montages. It’s the kind of music that’s injection mold for memories.
Yet I’ve never heard this amazing song played at a wedding and think it’s a tragedy. “I’ll Be Good To You” is more than worthy of a couple’s first dance. It’s a tune deserving inclusion into matrimonial mixes and wedding video montages. It’s the kind of music that’s injection mold for memories.
“I’ll Be Good To You” is a track off the Brothers Johnson 1976 debut album Look Out For #1. The song reached #1 on the R&B charts and peaked at #3 on the singles charts. In 1989 “I’ll Be Good To You” reached #1 again on the R&B charts this time covered by Ray Charles along with Chaka Khan.
In both cases Quincy Jones (the other Q after James Bond’s) was at the “singles event.” He was producer to the Brothers Johnson for the original version and the Ray Charles & Chaka Khan cover was a track off his Back On The Block album. “I’ll Be Good To You” was also covered by Vanessa Williams with James “D–Train” Williams (no relation to her) on Vanessa’s 2005 album Everlasting Love.
George and Louis, The Brothers Johnson grew up in Los Angeles, played in area bands, backed The Supremes, became session musicians and Jedi Apprentices of Quincy Jones before going solo.
The biggest singles of their career were “Strawberry Letter 23” (originally recorded by Shuggie Otis), “I’ll Be Good to You”, and “Stomp!” which came out years before the theatrical show of the same name. The track “Get The Funk Out Ma Face” on Look Out For #1 was written with Quincy Jones and also released as a single reaching #30 on the Billboard charts.
Another track on their debut album, “Thunder Thumbs And Lightnin’ Licks” contains the nicknames of the Brothers Johnson. Codenames far less encrypted than “Mac Daddy” and “Daddy Mac” because they were actually in a band not the CIA like Kris Kross. Actually as far as my Intel is concerned, Steve Jobs was the Mac Daddy (well really Steve Wozniak & Jeff Raskin but it works better as a joke).
Guitarist George Johnson “coulda been a contender” in the Keith Jarrett look alike contest but his codename here is “Lightnin’ Licks” while his bass slapping brother Louis Johnson is “Thunder Thumbs.” From the sound of it, thumb wrestling a guy like Louis would’ve been a bad idea.
While not as well known as other legendary Funk/R&B bassists like Larry Graham, Bootsy Collins, & Bernard Edwards, EVERYBODY knows Louis Johnson’s playing…
While not as well known as other legendary Funk/R&B bassists like Larry Graham, Bootsy Collins, & Bernard Edwards, EVERYBODY knows Louis Johnson’s playing…
There’s just a little tune called “Billie Jean” that he was the session player for. Okay, so now his Badass Musician Index (BMI) just went through the roof. Actually Louis played on 3 Michael Jackson albums: Off the Wall, Thriller, and Dangerous.
Other tracks Louis Johnson was session bassist on:
“Off The Wall” —Michael Jackson “I Keep Forgettin’ (Every Time You’re Near) “—Michael McDonald
(Warren G’s 1994 hit “Regulate” featuring Nate Dogg samples “I Keep Forgettin'”)
“Wanna Be Startin’ Somethin'” —Michael Jackson
“Give Me the Night” —George Benson
“P.Y.T. (Pretty Young Thing)” —Michael Jackson
Larry Graham of Sly And The Family Stone and Louis Johnson were pioneers of slap bass playing, with Larry considered the first to bring the style into prominence. Louis showcases his technique on their 1980 hit “Stomp!” (off the album Light Up The Night) which features a bass solo breakdown you’d think he pulled out the Popeye forearms for.
If you’re a liner notes junkie, you’ve seen Louis Johnson listed numerous times as he’s recorded or performed with over 60 artists including Donna Summer, Herbie Hancock, Stevie Wonder, Quincy Jones, Paul McCartney, Aretha Franklin, Phil Collins, Stevie Nicks, Kenny Loggins, John Mellencamp & Sister Sledge among others.
“I’ll Be Good To You” is an all star feel good party song like Kool & The Gang’s“Celebration” just waiting to pollinate a positive vibe for all occasions. It can pack a dance floor and has a supremely infectious sing along chorus that mixes well with the leisurely waving of hands in the air in the simple act of celebrating life.
George Johnson’s vocals ooze sincerity, his inflections unwrapping layers of affectation. I’m usually good at deciphering lyrics but at first I thought George was singing “Stella” instead of “Said–A” in the first verse. Even though not the case, he demonstrated he can say “Stella” much more pleasantly than Marlon Brando in A Streetcar Named Desire and that’s important.
In “I’ll Be Good To You”, the clean tone rhythm guitar chords are contrasted with some medium roast distortion on the lead line like the Commodore’s single “Easy.” This gives the lead guitar a soft fuzziness that takes on a dreamy synthesizer quality.
“I’ll Be Good To You” truly earns it’s wings with it’s chorus of female backing vocalists. At this point in the song, the sky opens up and listeners get a Soul Shower of Ambrosia
“I’ll Be Good To You” truly earns it’s wings with it’s chorus of female backing vocalists. At this point in the song, the sky opens up and listeners get a Soul Shower of Ambrosia:
The Charles/Khan cover is a more uptempo 80’s synth pop version. It gave Ray Charles his first #1 R&B single in over two decades:
What a jam! It’s a top shelf Jam Anthem like Chic’s “Good Times”, a liquid honeymoon groove. The groove in The Brothers Johnson tune “I’ll Be Good To You” is so laid back, it’s a recliner with a chilled beverage buoying a miniature yellow umbrella.
This is music silk listens to when it needs to feel comforted. This is what it sounds like when butter melts slowly on imported china next to a bottle of Champagne on the French Riviera.
That being said, I’ll be the first to admit love songs are an already overcrowded and overdone subject matter. Songs get recycled from previous regurgitations. Compared to Punk and Metal where there aren’t rations in the topic department, love songs are often terminally stereotypic and predictable. Silly Love Songs Sir Paul called them in the 1970’s—several decades later we’re probably at Zombie Love Songs status.
Pop song somnambulists sing about love and relationships like pull string dolls and the depth of their experience reflected in lyrics is watered down and wafer thin. It’s not like there’s a few decades of perspective packed into their “life virgin” verses like say Supertramp lyrics.
And what vast life experience can young pop stars actually bring to the table a few years after getting a driver’s license? Forget about songs about history, political and social issues they’re not even on the map yet.
Part of the socio–economic skid into preteen pop culture purgatory was that several decades ago, the record buying public was comprised of 30 to 40 year olds. The mainstream music consumer has gotten younger and younger with each successive generation.
Now the consumer base includes preteens buying music written by artists just a few years older. Here, relationships are the most common subject matter because it’s the most relatable experience to the cell phone starring young consumer tranquilized in the Twilight Zone of eternal texting. Most are still a few hundred selfies away from getting a Passport photo and experiencing the world outside a 4 inch screen.
Young celebrity culture also demonstrates that for all the wealth and fame they have, they make the same mistakes as the rest of the population. The breakup and divorce rate isn’t any less frequent among celebrities. Truth is, there are very few Paul Newmans and Joanne Woodwards in the entertainment industry—people who lived the song “I’ll Be Good To You”, married or not.
For generations breast fed on Rap & Hip Hop, it’s ear opening to hear what regal and elegance sounds like. There is life beyond angst and anger and higher vibes than the hormonal surges of youth.
For generations breast fed on Rap & Hip Hop, it’s ear opening to hear what regal and elegance sounds like. There is life beyond angst and anger and higher vibes than the hormonal surges of youth. There aren’t many love & relationships songs that have deeper depth and perspective behind rhymes and catchy melodies— even monotonous ones. “I’ll Be Good To You” is that museum piece that’s still more alive and vibrant that what I hear coming from the current crop having their media days in the sun.
“I’ll Be Good To You” comes from a time when people chose to ride a more positive vibe with the top down and more importantly from the top down. Although Louis Johnson left the planet in 2015 at age 60, his bass grooves from beyond the grave and thankfully so.
It bounced off the wall and broke down walls of race and gender. So why not inaugurate your life together with the Brothers Johnson? If you’re single, Why not renew your vow to “Treat Me Right” like Pat Benatar demanded because sometimes if you want something done right, you gotta to do it yourself.
If there’s no wedding bells in your future, just grab a pair of wedding bell bottoms from the past. In either case, You May Kiss the Vibe.
There’s the Bible Code and the Da Vinci Code—but is there a “Let’s Go Crazy” Code?
Before anyone thinks I’ve stared at the Abbey Road & Sgt. Pepper’s Lonely Hearts Club Band album covers Clockwork Orange style way too long, isn’t a bit of poetic coincidence that Prince died in an elevator?
I mean you know the narration before the full band enters in “Let’s Go Crazy”:
And if de-elevator tries 2 bring u down
Go crazy – punch a higher floor!!!
It seems Prince indeed punched a higher floor in that Paisley Park elevator and left the Earth plane.
The second verse of “Let’s Go Crazy” going into the chorus is even more prophetically elaborated:
We’re all excited
But we don’t know why
Maybe it’s ‘cuz
We’re all gonna die
And when we do (When we do) What’s it all 4 (What’s it all 4) U better live now Before the Grim Reaper come knocking on your door
Tell me, are we gonna let de-elevator bring us down? Oh, no let’s go!
(Note to Steven Tyler & Aerosmith: The Grim Reaper takes elevators)
I never met Prince nor saw him perform live but he was one of the people on my concert bucket list I wanted to see. Actually the only time I was in his home state of Minnesota was in Minneapolis to catch a connecting flight from the west coast. One of my relatives however did meet Prince at a club in Miami and talked with him.
An actor friend also met Prince when he worked for a network TV station in New York City. He didn’t get to ride in an elevator with Prince (most definitely a Scavenger Hunt Selfie), but did so with Neil Young. Interestingly, Neil Young had a backing band called Crazy Horse…hmmm…and further down the Purple Paisley rabbit hole we go. Later in his career, Prince also wrote a song called “Cinnamon Girl” which was one of the biggest hits of Neil Young And Crazy Horse.
When I was out in Hollywood visiting friends and wandering around (the occasional olfactory overture of concrete mingled with fermented urine while on The Walk Of Fame comes to mind), I came upon the fabled Sunset Sound recording studio where so many famous acts such as The Doors recorded their historic and iconic albums. Prince also recorded there in a cute story by Fleetwood Mac singer Stevie Nicks.
Nicks was working on her solo album The Wild Heart at the time. She was driving around and heard “Little Red Corvette” on the radio and came up with lyrics to “Stand Back.” Since a song written by Prince inspired her lyrics, she called him up and asked if he was in the area (Prince had another residence nearby) and if he would like to come down and play on the track.
Like calling a pizza delivery session player, Prince was there in under 30 minutes and laid the keyboard parts down for “Stand Back.”Prince influences Nicks and in turn it seems Nicks influences Prince. Being asked to play on “Stand Back” seemed to give Prince the foundational ideas for one of my favorite Prince tunes: “I Would Die 4 U.” There’s an apparent aural geneology to these two songs: “Stand Back” and “I Would Die 4 U” have similar tempos and utilize the same kind of pulsating staccato synth bass bed.
Prince wrote several pop rock anthems: “1999”, “Purple Rain”, “I Would Die 4 U”, “When Doves Cry”, and “Let’s Go Crazy” to name a few. I remember first becoming aware of Prince with the single “Little Red Corvette.” After Purple Rain, I went on to buy all his earlier work and then every now and them, I’d pick up his later post 80’s material.
The albums 1999 and Purple Rain are still my favorites because I really liked the musical chemistry of Prince and the Revolution as well as the mix of male/female vocal trading and harmonizing. The Revolution was for Prince his “original Kiss lineup” to my ears. Another irony here being Prince wrote a song called “Kiss.” With bands, there’s a certain unique chemistry every now and then that can’t be duplicated even if the band goes on without earlier members for any number of reasons in the Rock and Roll playbook.
In 1984, “Let’s Go Crazy” became a number 1 hit. If only George Orwell lived to see that. Big Brother in a Jheri curl*? Dressed in a purple trench coat wielding a white guitar? Prince’s Purple Rain soundtrack and the movie became joined at the hip with the 1980’s. The eulogy intro narration to “Let’s Go Crazy” is one of those 80’s pop culture moments along with the intro to Twisted Sister’s music video “We’re Not Gonna Take It” that nearly every child of the 80’s has grooved into their neurons. “1999” was a playful dig by Prince at Big Brother and his nuclear arsenal during the Cold War 80’s with the lyrical mention:
Yeah, everybody’s got a bomb,
We could all die any day
But before I’ll let that happen, I’ll dance my life away
This was misheard by some at the time to be a reference to President Ronald Reagan (Yeah, Ronnie’s got a bomb, we could all die anyday…)
*Invented by a white guy from Illinois—go figure
For a guy who rode a motorcycle, Prince was never the “biker type rocker.” Then again those types of bands wouldn’t dare to write a song like “When Doves Cry”, “Purple Rain”, “Raspberry Beret”, or “Kiss.” I mean can you imagine Mötley Crüe pulling that off?
Prince was more multifaceted as an artist which gave him broad appeal over successive generations and crossed lines of gender and race with his fan base. This is hard do do especially now as the recording industry tries to segregate fan bases to maximize profit. Michael Jackson, Madonna, Sade, Gloria Estefan are other contemporaries of Prince that crossed these “Pop Picket Lines.” Prince’s music also escaped the vinyl witch hunt of rock radio station record burnings and steamroller rodeo rides over popular Disco hits. He was rock enough for the rockers—one of his fans being, oh some guy named Eric Clapton.
Enjoy The Talents Of Others And Let It Inspire Your Own
Prince was an incredibly creative and multi–talented musician. I know many critics and fans will use the word Genius when referring to him and his prolific body of work. It’s a deserved compliment and helps celebrate how his music touched millions of people around the world. However I take a different perspective on the nature of Genius as I believe the current way it’s used and how who’s labeled as such or not separates people from participating in art and their own creativity.
The Genius label encourages the “Why should I bother, when THOSE people are Geniuses and I can only play “Lean On Me” on piano or “Pretty Woman” on guitar mentality.” If we all felt that way as we did when we were young looking up to our heroes and inspirations, no one would try to write music on their own—even Prince.
We all should participate in art and creativity. It’s just fun and a form of play which becomes in shorter and shorter supply when many people become adults. Every child innately enjoys art and music and participates in these then they get to a certain age and internalize the cultural message that they are wasting their time because they aren’t Geniuses or they aren’t that talented.
By all means be inspired by artists like Prince and whoever came before you that inspired you down the road of creativity so you can take your own tuning forks to deeper self expression. But don’t get stuck behind the starting gate just because certain people are better or more successful than you. No one comes out of the womb a concert pianist. Every future “Genius” can’t even play “Three Blind Mice” during that early stage of life.
What often gets lost in praise, compliments and fan worship is the nature of art and creativity itself—which even Prince would have probably said the following of his body of work. That Genius, like gender identity and sexuality is along a spectrum, not a black or white, either or static state. Stated another way, a Genius will not always produce works of Genius every single time and an artist of average talent can produce works of Genius at times.
The more important thing as an artist or anyone producing works of creativity is to keep producing and don’t censor or judge. Your favorite pieces may very well differ from the works your audience loves and considers “your best stuff” or “your works of Genius” but it’s all part of you and you don’t want to play favorites—even your own.
In another example from baseball, for decades Babe Ruth held the record of 714 career home runs. His nickname was “The Sultan Of Swat” not to be confused with Dire Straits“Sultans Of Swing.” What people fail to often see with such talent and ability is that Babe Ruth struck out quite a large number of times in his career as well (1,330 times in fact as has EVERY other Hall of Famer). He could have just as easily earned the derogatory nickname “The Sultan Of Flyswat” or “The Sultan of Sloth” if he wasn’t getting his “hits” on the other side of the ledger.
The important thing was Babe Ruth kept stepping up to the plate, kept having another opportunity at bat. Similarly, Dire Straits guitarist Mark Knopfler has stated he is not the most skilled guitar player on the technical level yet he still wrote “Sultans Of Swing” which is an amazing guitar composition by any standard. And music schools crank out dozens of dazzling technicians every year yet how many have actually written a piece with the depth of “Sultans Of Swing” or “Purple Rain?”
The Prince Prophecy
Prince dying in an elevator is one of those coincidences we can embellish into pop culture lore and legend. Songwriter John Denver died in a glider accident and one of his well known songs was called “Leaving On A Jet Plane.” If Denver’s tune was titled “Leaving On A Glider”, I’d weigh that more in the neighborhood of authentic foreknowledge.
Another coincidence here is John Denver was one of the people who testified against the PMRC (Parent’s Music Resource Center) along with Frank Zappa and Dee Snyder of Twisted Sister after one of Prince’s songs on Purple Rain, “Darling Nikki” sent Tipper Gore into a tizzy over it’s masturbation reference.
Such ironies of life will happen on occasion as statistics and probability can demonstrate. Case in point, say I wrote a novel about a female pilot and named her Amelia Earhart. You’d think the characters name was made up for the fiction novel because it alludes literarily that Amelia has her heart in the air—hence the two words “air heart” combined in her last name and more poetically spelled as Earhart.
But such “novel names” and situations like our “Let’s Go Crazy Code” here actually do happen in real life some of the time. So have we negated the “Prince Prophecy theory” and de–romanticized the departure of a pop legend? We’re just chasing white doves formulating such theories—dig if you will that picture.
The body of work is what matters and the body of work is what’s still here. We have to look deeper and ask the internal question: What did the creative works of Prince mean to you? For starters, it didn’t make anyone’s life WORSE in the final analysis. It even had a happy ending for Darling Nikki.
The Aural Autopsy on the artist we knew as Prince is clear though. Prince is one of the best selling artists of all time with over 100 million records sold. Prince released 39 studio albums, racked up 7 Grammys, an Academy Award and a Golden Globe. He was a shoe–in to the Rock and Roll Hall of Fame the first year he was eligible in 2004. He walked down the Red Carpet but also made his own Purple Carpet as well—and luckily didn’t slip on any purple bananas while dancing on it.
Still, none of these awards, accolades and sales figures means as much as the fun and joy of making music. And Prince loved making music. It was about making music long before the money and about making music even after he had plenty of it. And that’s what I really admire about him.
There’s works of his I absolutely love, there’s works I think are cool and okay, there’s works I think aren’t his best. But Prince was never alive to write to specifically please me nor or any of his audience. He had the right to be an artist, to explore his creativity and he truly exercised that right—just look at his creative output.
It’s easy to slack off on the Fame Train after even one or two successful albums. As an artist, I experience and understand creativity this way because I write to enjoy doing so myself BECAUSE making art and being creative is it’s own reward. Whoever resonates with a creative work besides the originator is secondary and an added bonus to the joy of creation. And the more work you produce, those odds on connecting and resonating with an audience go up exponentially.
For myself, I have Prince tunes in iPod mixes for all moods and occasions. I’ve grooved out his classic tunes at friend’s dance parties into the early morning hours numerous times. Writing music is a celebration of life and listening and dancing to music is celebrating life as well. We can all always party like it’s 1999 on the dance floor and revisit our own sacred time outside the confines of the calendar. Why? Because the Messiah of the Minnesota Music scene said so. Stick that white dove feather in your Raspberry Beret.
Indeed, the Pale Blue Dot did turn a bit Purple with his time on the planet.
So goodbye Prince, and thank you for adding to the soundtrack of my life.
This is the inaugural installment of a segment where we’ll highlight songs that “Coulda been a contender.” Don’t feel sad there Marlon Brando, you WERE a contender having been mentioned in David Bowie’s“China Girl.” These are songs we refer to as “Closet Singles” and aim to sing their praises and give them a coming out party almost as good as Diana Ross could.
What usually happens with a musical duo is one becomes the lead vocalist in the eyes of the public, or as in this case, Private Eyes—Simon & Garfunkel, Loggins & Messina, Hall & Oates.
This holds true even if the other part of said duo CAN and does sing. Even so if the duo records albums with each trading lead vocals on various tracks like Hall & Oates regularly did on their albums.
Why does this happen? Well, with hit singles, record company marketing and desire for ROI (Return On Investment) heavily influence this.
Once a song becomes a major hit, that’s the lead singer—that’s the map, the formula: repeat the previous success in the future for their bottom line as well as for listeners wanting to hear the next song by whatever act with that same lead vocalist.
Strangely, Hall & Oates first well known single, “She’s Gone” off their 1973 album Abandoned Luncheonette was with John Oates on lead vocals and Daryl Hall secondary.
Technically, it’s actually a dual lead vocal line in the verses—Daryl doubles John with a falsetto but since it’s high and thin aurally, John’s deeper voice takes precedence in the auditory foreground then they trade for a “call and response” chorus.
A few years later however, after “Sara Smile” and “Rich Girl”, their first number one single, it was pretty much all singles with Daryl Hall on lead vocals and John Oates as backing vocalist.
Record companies use the same formulas of established success within bands as well as in the industry as a whole—think boy bands and rest assured, there’ll be new ones for every generation. They might even outlive cockroaches & Keith Richards.
They also follow this template with previously successful artists—they re–market, repackage, resell “them”, that style to new generations. An example of this is Lady Gaga.
When I first listened to her Born This Way album, a woman I worked with asked me what I thought of it. My first reaction was “They’re Madonna songs sung by someone else.” I could totally see why Lady gaga was being backed by and was a priority artist on a record company’s roster.
You can see and hear how they follow previously successful formulas and sign artists that fit this sound/style and/or groom their talent pool more in that direction because they do not want to take chances. Taking chances is a business risk and they want a sure predictable return on their investment.
So it is with the first hit single—for Daryl Hall & John Oates it was “Sara Smile” with Daryl Hall at the helm. It seems “She’s Gone” just wasn’t a big enough single to perk their ROI radar. If it had, they’d have been looking for the next single with John Oates on lead vocals, and that’s where this installment of Closet Singles comes to the much belated rescue.
That song is “You’ll Never Learn” which is also off the same album as their first #1 single “Rich Girl”—their 1976 release Bigger Than Both Of Us. If you love Hall & Oates like I do, you’ll love this song. It’s another great example of John Oates the vocalist, how there was another “She’s Gone” in the batting cage, waiting to get another chance at bat to become a hit.
“You’ll Never Learn” showcases John Oates’ range and intensity alongside solid lyrics and orchestration. His vocals on this capture that sublime sense of awe—his nuance and tasteful use of falsetto makes this melody soulfully soar:
“You’ll Never Learn” is a flat out great Hall & Oates song that never met the airwaves—it’s a great song for ANYONE that few people know about.
Now picture a Parallel Pop Song Universe. Imagine if John Oates was a solo artist and released “You’ll Never Learn.” If you have hairspray induced amnesia or if I used The Force and made you forget Hall & Oates, what would your impression of this song in that context be?
I can say if this was a song I heard on the radio or saw on MTV, Solid Gold, The Midnight Special, Dick Clark’s American Bandstand, etc., back then, I definitely would have bought the hypothetical John Oates album She’s Gone And You’ll Never Learn it was off of.
Which brings us to another point—The dynamics of a duo are different: Batman is more likely to have a successful solo career than Robin.
Think about bands that have/have had one or more lead vocalist:
Chicago The Eagles Kiss Fleetwood Mac Journey Toto
These are just some well known ones that come to mind. Notice how it’s more permissible and acceptable to vary vocalists with the industry and audience AS A BAND than if you are known and billed as a duo?
In the case of Fleetwood Mac, it’s not only 2 different female vocalists, but also a dude in the mix: Lindsey Buckingham. They had songs chart with each different vocalist including songs with split vocals like the anthem “Don’t Stop” off their Grammy Award winning Rumours album.
Following this strategy and seeming recording industry/audience loophole, say for instance the songwriting duo Hall & Oates called themselves by a band name instead. I mean Steely Dan was mainly 2 guys and could have went by the duo name Becker & Fagen.
Lets work some revisionist history magic and say Hall & Oates called themselves by what they coined their own style of songwriting & music: Rock N Soul. Since they were from the Philadelphia area, let’s add that to the mix as well. So they are now known as “Philly Rock & Soul” after Marty makes it back in Doc’s DeLorean or PRS for short.
This is assuming Paul Reed Smith guitars (PRS) doesn’t have a problem with that. What then? Well now the duo bias and audience ADD is removed and PRS can have hit singles with more than one vocalist doing leads. Furthermore they can each have successful solo careers afterwards like Don Henley, Glenn Frey, Stevie Nicks, Lindsey Buckingham, Peter Cetera, Ace Frehley, etc.
…And they can all live happily ever after with Rich Girls.
So if Batman & Robin should happen to read this, they should call their band the “Caped Crusaders” instead of “Batman & Robin” ensuring both may have successful solo careers sans capes, masks & spandex later on in the Gotham City music scene.
Perhaps they could even do a cover of Steve Miller’s “The Joker.”