Songs I Love: ‘Save Me’

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In the fall of 1966, The Miracles, not yet Smokey Robinson & the Miracles (at least on their US singles, as two albums had appeared with this moniker), released ‘(Come ‘Round Here) I’m the One You Need’, a springy piece of guitar driven dance pop. It’s a slight deviation from the normal Smokey track, mainly in that the lyric, though a heartfelt message meant to comfort a girl who may be losing her lover, is boasting and assertive. Robinson was always an assured singer, to me second to none in the form, but his songs are usually forlorn excursions, he the victim of loves often sad outcomes. Since the A-side did appear as such, you’d almost assume that the flip side would tread his usual waters. Little did anyone know that when flipped just how beautiful the B would be, perhaps saying in the plainest language possible that if the A is going to be this strong in confident emotional temperament, the B would have to be at least that lamenting comparatively in reverse. Continue reading

White Reaper, White Reaper Does It Again (2015)

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Often you’ll read critics review new artists with a degree of difficulty that no band, save a select dozen or so since rock n’ rolls inception sometime in the mid 1950s, could have ever hoped to achieve. In the reviews, often exciting new artists are compared unfavorably to other bands, as if to say that to bare an influence of another is to be derivative and therefor unoriginal. These critics fail to realize that even the bands they use for comparison most certainly had reference points as well, plus, the very genius of rock n’ roll as a form is just how much subtle (and vast) variation we’ve heard within a relatively tight sonic template. With most acts featuring the simple drum, bass and guitar line-up we’ve nevertheless gotten millions of different songs and lyrical passages. But, and the point can’t be overstated, many great songs are great because they bare striking resemblance to other songs. Their brilliance is either as counter-point echo (as I said last post, ‘Just Like Honey’ is wonderful, in part because it’s showing how different a spin on ‘Be My Baby’ can be had using roughly the same parts) or shoulders-in-arms (the Jam copied the Who* and the Small Faces because they were part of the same Mod subculture, albeit more than a decade later), or as in today’s example, giving a nice contemporary reworking to old classics to give the kids something to bop around too. Not an altogether bad thing as the classics can’t be preformed live anymore and a vital underground scene is essential in any city, even if all the clubs are filled with retreads and copycats (not that today’s topic is remotely that though). Continue reading