Mary Wells

James Brown, “I Got You (I Feel Good)”

There’s a certain strange thing that goes on in my head around timelines. This song was first released in an early version in 1964, and it absolutely does not seem like it should be contemporaneous with, say, A Hard Days Night. Or Eddie Holland’s “Just Ain’t Enough Love” to pick an example of what Motown was up to at this time. As a consequence, the timelines for funk and soul are just completely disconnected in my brain from those of rock. I can get the progressions of both straight in my head, within their own milieu, but when I think about what they were each doing at the same time, it just doens’t fit, like a miscut jigsaw.

It’s a big day here on Five Songs. Exactly two years ago, I started updating this thing every day. Through vacations, work getting busy, moving twice, dealing with the fallout of a pandemic, I kept hitting my updates. I’m not sure why exactly I decided to do so. More than anything, it was to convince myself that I could commit to a grind like this and keep on top of it. Could I be a daily blogger? Could I keep a creative project going even when it got tough?

Mary Wells, “My Guy”

We’ve had this one before.

The Magnetic Fields, “I’m Sorry I Love You”

One of the more memorable tunes from 69 Love Songs, probably due to the vocals, but I do like the guitar part on it as well.

Mammoth Weed Wizard Bastard, “Slave Moon”

Ah, Mammoth Weed Wizard Bastard. Say it soft, and it’s almost like praying. Say it loud, and there’s stoner metal playing. Anyway, here’s ten minutes of fuzz, enjoy!

Vaselines, “Bitch”

Eh.

New Bomb Turks, “Professional Againster”

The New Bomb Turks arrived on Epitaph with Scared Straight, and immediately things got more professional. And that’s not a good thing when you’re dealing with this sort of thing. Listen to this - it’s certainly not bad, but there’s a certain theatrical edge here that really cuts against the proper energy of the band. I just don’t think we need the Jerry Lee Lewis thing going on. Don’t get me wrong, I still enjoy this record, it’s just not as much fun as the earlier stuff.

Public Enemy, “LSD”

Flavor Flav belting out “cancer!” in the first verse always kills me. Also, I always appreciate it when rappers Remember A Guy, with Nick Van Exel getting name checked here.

The Grifters, “Spaced Out”

I’m pretty sure that I’ve lamented this before, but it’s a real shame that the Grifters managed to get to Sub Pop, the relative big time, and only released one record there before breaking up. I suppose they didn’t exactly fit into the general grunge aesthetic (grunty guitars and gruntier singers), but they at least fit pretty well alongside both Pond and the Afghan Whigs, both of whom made the majors. Well, anyway, all five of the Grifters records are worthwhile, with this one being the most polished of the bunch.

Mary Wells, “Bye Bye Baby”

A real rager here from the early Motown days from Mary Wells. It’s certainly easy to see how this did so well for them.

Labradford, “Disremembering”

Here’s a track from the first drone record by Labradford, the record that found them with their most minimal lineup. Labradford was always most effective setting a mood, and I think that the mood comes through the most with fewer tools in the arsenal.

Mary Wells, “My Guy”

Another classic Motown tune. I wish I could set up all my music streaming to just inject periodic Motown songs into whatever I’m listening to. Having a Four Tops song pop up in the middle of some Neanderthal death metal record would be pretty excellent.

Shenandoah Davis, “Gold Coast”

I like the choral bits in this, and the well placed additions to the piano. It’s a lovely piece.

Mary Wells, “You Beat Me To The Punch”

Lots of Mary Wells recently, which is OK by me!

Olivia Tremor Control, “The Opera House”

Music From The Unrealized Film Script, Dusk at Cubist Castle is one of the key documents of the indie pop underground from the mid-90s. Although it hasn’t retained the level of enduring fame as In The Aeroplane Over the Sea, it’s very much a peer to that one. The record nerds who went nuts over Neutral Milk Hotel at the time were already nuts over Olivia Tremor Control.

Mary Wells, “My Guy”

It’s a trifle, but it’s a very sweet one.

Muddy Waters, “You’re Gonna Need My Help”

We like to goof around with me not knowing shit about jazz around here, but I know so, so much less about blues.

Pussy Galore, “Solo = Sex”

Those trash can drums, disorganized but confident vocals, and primitive grooves are all hallmarks of Pussy Galore that Jon Spencer would carry forward and refine in JSBX, but even the neolithic version is plenty of fun.

The Dillinger Escape Plan, “43% Burnt”

I dunno, I’m 100% burnt now!

Neutral Milk Hotel, “April 8th”

I learned about a podcast called Neutral Cider Hotel the other day, and I have to say, I was probably way more amused than I should have been.

Superchunk, “Break the Glass”

Despite being a huge fan of Superchunk from the release of No Pocky For Kitty, I never once managed to catch them in concert until the tour for this record, 26 years after I started listening to them. And you know what? It was a total delight. I was just entranced watching Mac do his thing up there. I wish I could have seen them more often, but at least I got there once.