I always thought Hurricane was “hit worthy”. I used to play it on ‘Classic Disco Sundays’ when I was a fill-in DJ way back in the 90s.
Why wasn’t it a hit?
Rumor has it that, during the release party for one of the single off of her new album, an exhausted Bette Midler was verbally accosted by a radio DJ who didn’t like the new song. Apparently, he was waving the 45 record in her face, so Bette snatched it out of his hand, threw it on the floor, smashed it with her heel, and told him, “Well then don’t play it!” The humiliated and angry DJ vowed to never play another Bette Midler song on his station again. That was that.
Bette’s new tour “Divine Intervention” begins Friday. ...and of course I have tickets! Yay! 😀
Unfortunately, Love isn’t a fan. So he’s staying home. On the bright side, I get to take a really good friend who, if it’s at all possible, will probably have a better time than me. 😛
Looking for something fun to fill your New Year’s Eve playlist? How about something from the Postmodern Jukebox?
What’s a Postmodern Jukebox, you say.
According to The Huffington Post, Scott Bradlee & Postmodern Jukebox broke out in 2013. “Scott Bradlee is the creator of the viral phenomenon Postmodern Jukebox, a diverse group of musicians who have turned Ke$ha into country, given Justin Bieber a bit of swing and most recently garnered praise — and more than 4.3 million views, as of this writing — for replacing Miley Cyrus’ twerking with some classic doo wop.” – William Goodman
Still confused? Here’s Scott Bradlee & PMJ on TED.
I stumbled upon the Postmodern Jukebox while scrolling through Google Play for something new, which used to take me hours flipping through record bins at local Sam Goody’s or Sound of Market record stores. I was immediately hooked.
The song featured on Google Play that month was a Jazz cover of Meghan Trainor’s “All About That Bass” featuring Kate Davis on lead vocals and bass.
Fun, right?
Of course the first thing I did was create PMJ radio stations on Pandora and Spotify, which is how I first heard their 1950’s ‘sock hop’ style cover of Magic’s “Rude” featuring hyper animated vocalist, Von Smith, with Robyn Adele Anderson and Jen Kipley singing backups. There’s a stunning moment at 2:27 when Von cuts loose. He hits and holds an impressive high note. It’s a little touch that makes this cover worth it.
If you listen closely, you might notice that Von Smith’s voice is reminiscent of 80s Star Search winner, Sam Harris, with whom Von sang a duet in 2010.
Led by Scott Bradlee, the Postmodern Jukebox is a rotating collection of musicians and singers who produce covers of pop songs in various styles of music; such as jazz, swing, doo-wop, and gospel.
One of the things I like about PMJ is their creativity. Their ragtime cover of Carly Rae Jepsen’s “Call Me Maybe”, with Robyn Adele Anderson’s camp vocals, is incredibly fun.
Turning Jason Derulo & Snoop Dogg’s “Wiggle” into a 1920s ‘Broadway’ number takes guts. But taking the Guns & Roses classic, “Sweet Child O’ Mine” and rearranging it into New Orleans jazz style Mardis Gras anthem was a stroke of genius! Having the remarkable Miche Braden belt out the lyrics doesn’t hurt.
Guns and who?
Speaking of New Orleans, PMJ took Sam Smith’s “I’m Not The Only One” and turned it inside out. Sink your teeth into this vintage New Orleans jazz cover featuring Casey Abrams.
I don’t know what I was doing on 2013 that I didn’t take notice. Though, it’s probably better that I found PMJ after they’ve accumulated a decent catalog of music. I’d hate to think I might have written them off after hearing the Miley Cyrus cover.
I’ll leave you with the PMJ cover of Daft Punk’s “Get Lucky”, in the style of a vintage Irish Tenor, featuring Mitchell Jarvis and Robyn Adele Anderson. I love the underlying campiness of this version. It doesn’t hurt that it’s also pretty good.
Wishing everyone a Happy New Year. Hope 2015 brings peace, love, happiness and plenty of chances to “get lucky”! 😉
Bonus Track!
Scott Bradlee and the Postmodern Jukebox covers Macklemore’s “Thrift Shop” in a “Great Gatsby” ragtime style, featuring Robyn Adele Anderson and, as always, Mr Bradlee on keyboards.
I have been in a foul mood all winter. It hasn’t helped that Mother Nature also seems to have been in a pissed off mood. Seriously. It’s almost May and we’re still dealing with temperatures as low as 30°F a few nights this week. Will someone please make Ma Nature a cup of espresso or something?
When I’m in a foul mood, I tend to stay away from people. It’s a lot better that way. Otherwise I wind up snapping at folks for no reason. It’s not pretty. Like so many others, when I’m in a bad mood I turn to music. What usually works for me is Pink Floyd’s The Wall (1979). For some reason, the Waters, Gilmore, Mason and Wright classic has a way with working out my aggression. It’s amazingly therapeutic. But I couldn’t seem to shake it this time. The winter was brutal. I still have a cold that just-won’t-go-away. On top of everything, cancer took three close friends within a two month period. It’s essentially why I haven’t been writing very much. Three funerals in such a short amount of time sends me right back to the early 90s, when everyone I knew was dying. I sat at my keyboard on more than one occasion to try to express the feeling of loss, but it was too overwhelming. I’d start a draft but then lose focus, which is what this post is about to do if I don’t guide it back to the point. 😉
On a mindless surf though YouTube, I stumbled onto Bette Midler’s cover of ‘One Monkey Don’t Stop No Show’ (Rose Marie McCoy, Charlie Singleton) It’s an old favorite. In this video, she’s performing it at the 1998 Billboard Awards.
It’s a fun song. Bette’s Studio version is better but, as with all of Bette’s live performances, there’s something about the attitude she projects on stage that brings a song to life. I guess it’s the same for most singers.
Because Bette Midler is a vocalist, she’s introduced me to many great artists. I’m always searching for the original singer of composer of any particular song she might have made popular. So of course I wanted to know the who, what, where, and maybe even the why of One Monkey Don’t Stop No Show. The earliest version that I was aware of is the one made famous by the truly wonderful Big Maybelle.
Truly, Big Maybelle doesn’t get the attention she deserves.
My appetite whetted, I wanted to know more. Who was this Rose Marie McCoy? Did she record a version of One Monkey? So… I checked everyone’s favorite source of misinformation, Wikipedia!
Hmmm… It’s not at all like Big Mabelle’s version. It’s good in it’s own right, but where Big Maybelle’s classic is about a woman tellin’ her man, “Buh bye! Don’t let the door hit ya on your way out!”, Stick McGhee’s version is about making your way through life without letting things get in your way. The themes are similar, but… Now I was on a mission.
According to Wiki “…another version was recorded by Joe Tex in 1965. In 1966 it was covered by The Animals.”
Here’s Joe Tex…
…and here’s The Animals.
It’s hard to choose between the two. I can see the appeal of The Animals but I like the rawness of Joe Tex. The most glaring thing so far is that now there are three completely different versions of this song.
But wait, there’s more!
“In 1972 the all-girl group Honey Cone took its altogether different version to number five on the R&B singles chart” – Wiki
Here is Honey Cone on the Sonny Bono Show
If those funky outfits aren’t enough, there’s a coked up DISCO version by Jessie Rogers. I’ll spare you. If you really want to hear it, you’ll have to click the link. I think it’s a little too peppy, If you ask me. 😐
So, what does the phrase “One monkey don’t stop no show” really mean? To me it’s fairly obvious. It’s another way of saying “Life will go on” or “This too, shall pass”. But could there be more? One could find himself deeply entangled within the interwebs, searching for a deeper meaning, but I gave it a go.
Curiosity killed the cat. …and kept this blogger up all night.
In their wordpress post, Yeah, But do you know what that song is actually about? #1 The guys at Old School Record Review put it perfectly. They wrote in part, ““one monkey don’t stop no show” is a perfect lyric for pop music because it shares so much in common with the music itself. It is ambiguous, emotional, catchy and supports introspection and interpretation.” They’re right, of course. Music is art and art is open to interpretation.
But what’s all this have to do with my pissy mood?
Haven’t you figured it out yet? Winter is over. We’re almost halfway through spring. Love and I are shopping for new plants for the tiny patch of concrete behind our tiny South Philly home. With spring comes a new chapter. Hopefully a little brighter than the last, but it’s new. Life goes on.
In honor of Bette Midler’s birthday, I thought I’d share a few of my favorite Bette songs. You won’t find Wind Beneath My Wings or The Rose on this list. They’re both great tunes, but we’ve all heard them a million times. Instead, I’d like to share some of the lesser known, but equally good tracks.
I didn’t really pay attention to Bette until I heard a radio interview sometime in 1980. I was a lost fifteen year old. I had few friends because I had no social skills. During this interview she recited the following quote…
“What’s underneath the mask isn’t as important as the mask that you choose to wear. That’s the true indication of your imagination and your spirit.”
That quote gave me the courage to be the person I wanted to be. I started making new friends, I got my first part-time, after school job, and a year later I came out. Surprise! 😉
My unofficial introduction to Bette Midler was her 1972 remake of Bobby Freeman’s “Do You Want To Dance”, which appeared on her debut album, “The Divine Miss M”. The slower tempo gives it a more sultry feel than the original. It wasn’t until I was much older that I understood the deeper sexual themes of Bette’s version. It remains a favorite.
The third cut on Bette’s debut album, which also includes a beautiful cover of theEthel Waters standard “Am I Blue”, is a percussion heavy, 1960s style rock/soul tune called “Daytime Hustler”. It’s the style of song you’d expect to hear from an artist like Tina Turner. With lyrics like, “Fancy money doesn’t buy my love. Flashy Cadillacs won’t make me f❇k. I’ve been hustled by the best of them, and you ain’t nothing but a crazy, crazy man…” It’s a fun song.
On the other end of the spectrum from Skylark, is “Breaking up somebody’s home”, also from Bette’s second album. This is one of those little known gems that got buried in the past. It’s bluesy, raw, and more than a little bit sexy. You probably won’t hear this song at a wedding reception. …at least I hope not.
The real gems from her fifth album were “Cradle Days” and her beautiful, sad cover of James Taylor’s “Millworker”
“Cradle days” is an aching plea to first love. We’ve all been there. Bette’s voice is powerful in this emotional rock ballad. It’s my favorite tune on that album.
From Bette’s little known fourth album, the one that nobody bought, called Broken Blossom, came “Empty Bed Blues“, “Paradise“, and a really cool duet with Tom Waits called “I Never Talk To Strangers.”
Bette was sick during the filming of Divine Madness, You can hear it in her voice. But the cameras, lighting and sound equipment were already paid for and the auditorium was booked. Canceling production would have cost millions. So they pumped her up with Vitamin C and sent her on stage. Yet, in my opinion, the Divine Madness performance of “Stay With Me Baby” is the best.
ADignorantium 