When you are 1/4 of the greatest band of all time, not all of your quality tracks earn entry into your group’s repertoire. In early 1969, with the Beatles’ sprawling double LP only months behind, Paul McCartney still had many worthy songs languishing away, including the beautiful tune “Goodbye”. Luckily for the 19-year-old Mary Hopkin, McCartney was in an altruistic mood, lending his songwriting and production skills to the upstart. While Hopkin’s rendition adequately interpreted the song (which reached number 2 in the UK singles chart; the Beatles’ own “Get Back” prevented it from reaching the top spot), it’s still this original McCartney demo that sweetly caresses with its beauty. Imagine how nicely this would fit on the White Album.
Latest Blog Posts
Sure it’s gone viral, but not everyone has had the opportunity to hear Cee Lo Green croon his expletive ode to an ex-girlfriend and her current paramour just yet. Not since Eamon’s 2004 single, “Fuck It (I Don’t Want You Back)” has the f-bomb been dropped so much in a song. Yet, Cee Lo manages to straddle the line between sincerity and self-aware humor every time he lets one rip throughout the song.
Is Green’s use of the word gratuitous? Not really. It’s pretty heartfelt, actually. Think about it. If you saw your ex-girlfriend sporting around town with a guy with more money and a better car than you and were still reeling from the break-up, what would your reaction be? It’s a safe bet that the words “Oh, fiddlesticks!” wouldn’t drop out of your mouth. The most primal, visceral gut reaction that one can muster in the tersest of terms, summing up all those feelings of anger, regret and hate is a hearty “Fuck you!” hurled in the general direction of the offending parties.
What sets Cee Lo Green’s otherwise base pronouncement above being just another profanity-laced novelty is that he makes his “Fuck You” funky. There’s a supremely catchy, Motown quality to the Gnarls Barkley vocalist’s new solo single. The harmonious “ooh"s and “aah"s comprising the song’s background vocals and the funky (emotional and musical) breakdown before the song’s final chorus make this seem like a lost relic from the ‘60s that even Berry Gordy would have reluctantly passed over due to stringent censorship.
The world contains lots of delightful sounds: bluebirds trilling, children laughing, brooks babbling, etc. But is there any sound more pleasing than the sound of a human voice? And has there ever been any vocalist with a more beautiful tone than Joni Mitchell’s? I think not. Here she is on the Johnny Cash show, playing the lap dulcimer and trilling “California”. Mitchell singing about going home just chills the soul. She nails every note with the proper amounts of joy and heartache. This is the voice that launched a thousand, nay probably a million, singers to find their own expressive natures. Whether anyone has ever measured up to the standard heard here is a decision only you can make….
Jill Clayburgh ... Starting Over
Sally Field ... Norma Rae
Jane Fonda ... The China Syndrome
Marsha Mason ... Chapter Two
Bette Midler The Rose
Jill Clayburgh … La Luna
Danish alternative band the Raveonettes have released a cover of the Stone Roses’ “I Wanna Be Adored” in order to celebrate 50 years of Dr. Martens.