If you’ve ever wondered what Bowie’s “Rebel, Rebel” might sound like if 1,000 folks got together to perform it in a stadium, well… wonder no more. (h/t)
Damn, if that doesn’t put a smile on your face this morning, I’m doing something wrong. I know the logistics would make it near impossible to pull off, but I have this fantasy that it would make for the greatest college football halftime show evah.
BTW, Rockin’1000 has a website, if you’re interested.
When it comes to music, I’m pretty broad-minded about different opinions than mine. But one argument I can’t accept is that “River Deep, Mountain High” isn’t the greatest achievement of Phil Spector’s career. It marries his production to an incredible performance by Tina Turner.
The song’s backstory is fascinating.
Written by Spector, Jeff Barry, and Ellie Greenwich, “River Deep – Mountain High” was among the first recordings that Ike & Tina Turner did for Phil Spector’s Philles Records. Spector was well aware of Ike Turner‘s controlling attitude in the studio, and therefore he drafted an unusual contract: the River Deep – Mountain High album and single would be credited to “Ike & Tina Turner”, but Ike was paid $20,000 to stay away from the studio, and only Tina Turner‘s vocals would be used on the record.
The track was recorded using Spector’s “Wall of Sound” production technique, cost a then-unheard-of $22,000, and required 21 session musicians and 21 background vocalists. Due to Spector’s perfectionism in the studio, he made Turner sing the song over and over for several hours until he felt he had the perfect vocal take for the song. Turner recalled, “I must have sung that 500,000 times. I was drenched with sweat. I had to take my shirt off and stand there in my bra to sing.”
If you’ve never seen the official promo for the song, it’s awesome. (And, yes, Ike is in it.)
Wow. Just wow.
I’m way off the plantation with this — no, not that plantation — but, since you asked, here’s what my new car looks like.
It’s a 2016 base Porsche Cayman, and, no, I didn’t set out to get one with that color scheme in mind. Fortunately, it just worked out that way. School affiliation aside, the other benefit to Guards Red (that’s what Porsche calls it) is that I’ll never lose the car in a parking lot.
The car is an absolute blast to drive. It’s mid-engined, and if you’ve never driven a car with its engine in the middle, it’s hard to describe the sense of balance you have driving. Between that and the sound of the flat-six engine behind your head when you hit the throttle, it’s as intoxicating an experience as you can have behind the wheel without alcohol being involved.
The car’s not for everyone, I know. I’m just lucky enough to be at the stage in my life when I can get away with a two-seater that has modest storage capacity. The rest of the package more than makes up for its shortcomings.
I’ll leave the final word on it to the smug musings of Mr. Ferris Bueller.
Today, it’s the daddy of rock and roll car tunes, Chuck Berry.
My problem is that there are two Berry songs that qualify for a MPC. Only solution is to clip them both here.
First, here’s “Maybelline” live, from 1955.
And from a few years later, here he is performing “No Particular Place To Go”.
The man had an… um, interesting stage presence, to say the least.
Feel free to add on any musical driving selections you may have in the comments.
Here’s a song that’ll make you want to drive – from his El Rayo-X album, David Lindley’s cover of “Mercury Blues”.
Those are some meaty guitar chops, my friends.
Update the Beach Boys by a decade, filter it through some smart ass New Yorker sentiment, and voilà!
Here’s The Dictators’ classic anthem, “(I Live For) Cars and Girls”, off their ’75 release Go Girl Crazy!.
There’s nothin’ else in this crazy world…
I would be committing MPC malpractice if I didn’t include a Beach Boys tune about driving. This one’s live from 1964.
Polite audience, though.