A Look at Paste’s 100 Living Songwriters

Text © Robert Barry Francos, 2011
(Except for the list, which is owned by Paste Magazine – see link to original article at the end)
Images from the Internet”One man’s ceiling is another man’s floor”
– Paul Simon (No. 13)

Fifty musicians and composers made up the late Paste magazine’s list of the top 100 songwriters, essentially in the past 50 years. Published in 2006, this list came to my attention only a few days ago.

This is bound to drive just about anyone else crazy, because music is subjective to the core, which they firmly state in the opening article before the list. Their criteria was that those who selected “were encouraged to vote for the songwriters they treasured the most, not the ones with the highest sales, the biggest impact on culture or even the greatest influence on other songwriters.”

For me, I don’t capishe some of their choices, such as Patti Smith being No. 95 while Tom Petty is No. 29, or Allen Toussaint at No. 68 and then putting David Bowie at No. 16. Sure, there are some they got right (remember, this is my subjective opinion), like Michael Jackson down at No. 49, and Chuck Berry way up at No. 25 (though I would have put him much higher).

What I find most significant is the lack of artists on the list, such as Little Richard and Jerry Lee Lewis, both of whom are still very alive. The Ramones could have been added, with Tommy and Marky still standing. Yeah, their songs were simplistic, but the music they wrote and produced was exciting, and they electrified the world. What about John Lydon, who wrote some incredible lyrics?

It is leaving out Ellie Greenwich, who died after the list was formulated, that is just criminal (for just a starters, she wrote or co-wrote ”Leader of the Pack,” "(Today I Met) The Boy I'm Gonna Marry,” "Why Do Lovers Break Each Others' Hearts?" "Be My Baby," "Baby, I Love You," "Then He Kissed Me," "Da Doo Ron Ron," "Not Too Young To Get Married," "Hanky Panky", "Do Wah Diddy Diddy", "Chapel of Love,” "I Wanna Love Him So Bad", “I Can Hear Music," "River Deep, Mountain High"… well, you get my drift? To me, it just shows sheer ignorance on those who chose.

Here is Paste’s top 10:
10. Prince
9. Joni Mitchell
8. Elvis Costello
7. Brian Wilson (The Beach Boys)
6. Leonard Cohen
5. Paul McCartney (The Beatles, Wings)
4. Tom Waits & Kathleen Brennan
3. Bruce Springsteen
2. Neil Young (Buffalo Springfield, Crosby, Stills, Nash & Young)
1. Bob Dylan

With the exception of No 5 (Paul McCartney above Lennon-McCartney, who aren’t even on the list? Ha!), I don’t really have a problem with it.

But the thing is, though, that nearly all of these listed are pretty major players, despite the “favorite” label. However, there are so many other musicians who are under the radar who consistently write incredible songs. For example (in no particular order) there is Mary Gatchell, Tamara Hey, Maria McKee, Ruth Gerson, Harriet Shock (who has won awards for her tunes), Margo Hennebach, Adrienne Jones, Anne Lorre, Carrie Catherine, Kim Delmhorst… Oh, there are so many others.

My guess is that Paste’s selectors of the list have never heard of many – if any – of these powerful songwriters, because of their lack of numerous chart hits. You may have noticed that all the ones I have selected are women. Why? Because the Paste list has only 11: Patti Smith, Victoria Williams (No. 89), Julie Miller (No. 73), Dolly Parton (No. 55), Aimee Mann (No. 54), Gillian Welch (No. 48), Loretta Lynn (42), Carole King (No 31; one ahead of Leiber & Stoller), Lucinda Williams (No 22), Patty Griffin (No. 19), and Joni Mitchell (No. 9). They all deserve to be there, but that’s only 11 percent.

These kinds of lists are bad ideas. They draw in the readers, sure, and it’s those numbers that drive the magazine biz, but most of them are insufficient and have wide gaps. It’s part of the reason I usually don’t do “Best Of the Year” articles. Personally, I believe that these “greatest ever” things are made up just to get people riled and write angry letters, which can then be published to show everyone, “Look! People read us!” Guess it didn’t help Paste though, as they can no longer be listed in the 100 best existing magazines.

http://www.pastemagazine.com/articles/2006/06/pastes-100-best-living-songwriters-the-list.html

Bonus Videos:
Maria McKee


Carrie Catherine


Anne Loree


Ruth Gerson

Favorite Releases of the Year

Text (c) Robert Barry Francos
Images from the Internet
Originally published at www.jerseybeat.com/quietcorner.html

The term “top 10 list” has always been kind of vague for me, when it comes to independent music. Things like mainstream films and music are released at a specific date (“dropped”), and usually out for a definitive time, so it’s easier to say, “this was released at X time.”

For independent music, even when it is released “officially,” it usually makes its rounds to the listeners over a longer, extended period of time. Just because a CD is finished, it gets sent to stores (hopefully), put up on Websites to hear or buy (or both), and usually is promoted virally, which takes time.

In honor to that process, and since I usually write about music that does not follow a schedule, rather than doing a traditional “released this year” kind of deal, I am going to list the top 10 CDs I’ve listened to the most this year that have been out within a reasonable time, arbitrary to my choice. Another criteria is that I can listen to them from beginning to end, with no desire to skip a song. Note that I have not put in the addresses of the labels, but rather suggest you look at their MySpace sites to hear samples of their sounds.

CHESTY MALONE AND THE SLICE ‘EM UPS - Now We’re Gonna See What Disaster Really Means. This band is everything a horror-themed hardcore band (horrorcore?) should be. You’ve got “13 Killers,” “Trouble with Cannibals,” “Livereaters,” and even a “Beavershot.” With Anthony Allen van Hoek’s screeching guitar, Hans von Severed’s bass and Tom Murphy’s drum bringing up the bottom, and fronted by the wonderfully named and fully committed Jacqueline Blownapart aka Chesty Malone aka Dotti Douchbag aka Vikki Voltage aka (TBD), this is a wrecking ball to the brain, with fun splattered all over it.

CHOKING SUSAN – [Self-titled]. Hailing from Detroit, this heavily Ramones-influenced band is fronted by the energetic Colleen Caffeine, a mainstay on the punk scene in MC. Seven strong old school punk anthems speed by. While my fave cuts include “Falling Round and Round,” “Baby Doll,” the point-out-the-poseur anthem “Punker,” and their should-be classic “I’m Alone,” there is just one solid song after another. I’m so glad I had the opportunity to see them play CBGB, and I am looking forward to their next release.

ANGELA ESTERLING – Earning Her Wings. Angela is an artist whose music is bluegrass-twinged country with a touch of pop. Along with a sweet and powerful testament to one of her idols, Johnny Cash (“Dear Johnny”; he’s also mentioned in another song), she shows she’s up for some good times with “I Feel Like Drinking,” and “Truck Driving Man” (she refers to him as her “knight in shining diesel”), she also tells of hard relationships (“Cowboy”) and I’m guessing a somewhat autobiographical tale of remembering where one comes from (“The Accordion”). Angela starts and ends with gospel inspired tunes “River Jordan” and a cover of “When I Wake Up to Sleep No More.” She is currently recording, I am very happy to say. What I especially like about this is that it’s more infused with ol’ style C&W, and not the modern, fake pop-disguised-as-country (such as the bland Faith Hill). This is more “true” Nashville.

FIRE BUG – End of the World. I’m not usually a fan of classic rock, but this too short 3-songer is worth seeking out, especially the title cut. Juliette Tworsey’s vocals have sort of a Stevie Nicks kind of waiver to them, but with a much harder edge, which matches the music (Nicks is soft pop rock, really). I know they are recording new material as it shows up on their ‘site, so I am looking forward to a full length release at some point, hopefully sooner than later.

MARY GATCHELL – Indigo Rose. I was first turned on to New Hampshire native Mary by Boston publicity maven Joe Viglione, and was instantly smitten by her voice. Having seen her play a few a few times now, confirmed that she is an exciting talent. While Mary’s songs are often about relationships (“Indigo Rose”), they are not sappy. On this CD, she covers self-strength (“Stronger Backs”, one of my fave cuts), abusive relationships (“Beautiful Girls”), fun casual hook-ups (“I’m in Like”), and even a humorous look at misguided marriages (“Green Card”). Her background is on piano and guitar jazz, which she morphs with chanteuse into both the sensual soft of “Perfect Love” to the fierce “?” (yes, that’s the name of the song). She has released a Christmas album after this, but I haven’t heard that one.

RACHEL HARRINGTON – The Bootlegger’s Daughter. Rachel has a new release, “City of Refuge,” which is also wonderful, but for now I’m putting this one first. Her old timey, Depression era sound calls out from the past into the present, with strong cuts like “Sunshine Girl,” “Halloween Leaves,” “Summer’s Gone,” and the very catchy “Shoeless Joe.” I would love to hear a duet with her and Allison Krauss, or Emmylou Harris at some time. Maybe (dare I say it) all three? On her own, though, Rachel can keep my attention. I am looking forward to actually seeing this Seattle-based singer live.


TAMARA HEY – Right This Minute. While going to see another musician, Tamara was on the same bill. We were going to stay just long enough to hear a song or two but remained for the whole set because it was musical love at first hear. Afterwards, I went over and got this CD from her. With a mix of pop, country and jazz, Tamara is another that doesn’t follow a formulaic pattern in subject matter. The first and title cut of this CD just blew me away from the first time I put it on, and the rest does not disappoint. Many of the songs cover relationships, but again, her perspective is not standard. Included is a wistful realizing that a relationship is ending (“Up In the Air”), sadness in realizing a partner may be interested in someone else (the beautifully haunting “More Like Melanie”) and someone close who is battling personal substance demons (“In the Universe With Me”), supportively confronting a friend who has just come out (“Girl Talk”), standing up to another (“Angeline”), and even a bluegrass themed angst (“Pebble in My Shoe”). Tamara’s songs are powerful stuff that loses nothing in the music. She has just released a new CD, and I am sure it will be reviewed by me at some point in my “Quiet Corner” column.

PHIL MINISSALE – Home to Me . Phil has an old poet’s soul that expresses itself in the form of Delta blues. His material is strong, his guitar work is superb, and his songs go the entire range from tragic to funny, from dirgy to spritely, and his personality shines through all of it. Robert Johnson meets Uncle Sun meets, well, central Long Island. He plays around a lot in the New York and Pennsylvania area, so check him out if you can.

MONTY LOVE – Girls are the New Boys. This hardcore release from this two-years-gone Staten Island-based band has probably been played the most by me of any CD I have listened to in the past two years. Filled with one bon mot after another (“I’d rather look ugly than have your personality,” “This went from funny to hospital,” “Call on me and I’ll be there/This I swear/Shit, I never swear,” and so on), their songs are tight punk with a pop hook, but lose none of its power. Find their Xmas Spectacular video on YouTube from their last show to see just how exciting they can be” (yes, I was there that night). The song titles (which almost always have nothing to do with the subject matter) are also noteworthy, including “We Give Good Headache,” “When I Die (It’s Gonna Suck),” and “Rinse and Repeat.” Anyway, Monty Love the man led Monty Love the band, and both rock the shit out of this CD. There are 25 songs here, most of them pretty short, which make it seem like a mere few minutes before it’s over. Hell, I got pulled over for speeding because I was listening to it in the car (true story). The way the CD is produced is excellent, as well, as one song flows naturally into the next. I can go on and on about how great this is, but it’s time to move on to the next on the list. But first, I’m going to put it on the player.

SHE WOLVES – 13 Deadly Sins. While their first 5-song CD (with Laura Sativa on bass) has a special place in my heart, this full release just buuuuuuurns. Generally, I’m not a big fan of metal, but this one just works for me. It’s hard to believe it is only a trio making this glorious noise. Head wolf, Donna, is a guitar-maniac with a voice like growling steel who hurls her vocals with a piledriver force. Bassist Gyda Gash (who has since left the group) adds some nice touches with a heavy bottom and some great songs (such as “I Kill With My C*nt”). Drummer Tony WolfMann, who has pounded his skins for some of the best rockers out there, brings up the support rhythm without getting lost. He even has his own fun song, “Chainsaw,” that has a catchy hook. Actually, many of these songs do, without being overly pop and schmaltzy. Great titles, too, like “Ghost Boyfriend,” and “Vicious Tit.” Plus, there are new versions of their “Art of War” and the Ramones-like “Hundred Bucks.” I’d also like to add that the Wolves are a fun live band, so I recommend you getting out there and seeing them.

* * *
As for the 10 worst of the year, well, just pick up any Billboard from the year and look at their best selling charts for that particular week, because they’re all pretty much interchangeable.

Rockwood Music Hall: November 18, 2007

All performance photos in this blog by Robert Barry Francos/FFanzeen

A while back, I was at the diminutive yet intimate Rockwood Music Hall on Allen Street (on the “Side of the Lower East”) to hear a singer I’m fond of (but is not the focus here). My pal Gittar and I decided to stay and see what the next singer would be like, and then head out; a couple of songs, we figured. When Tamara Hey came on, we silently stayed the whole set. Obtaining her CD, it became one of my favorites over the past year or so.

Sunday, November 18, 2007, found me back at the Rockwood, waiting for Tamara to play again, where she plays semi-regularly. She was third on the bill, so with camera in hand, I ordered my drink (which, as usual, I nursed through the night), and waited.

First up was JOCELYN MEDINA, who was backed by piano, stand-up bass, and drum. The stage at Rockwood is so small that the majority of it is taken up by the grand piano, so the drum is set up off the stage, against the wall between the stage and door. Jocelyn is solid jazz, with some Brazilian influence thrown in. Some songs she wrote herself, and others she wrote the lyrics which are put to other instrumentals by jazz greats. The band was obviously new to the material, and Jocelyn helped them along with directions between songs, and they quite competently kept up. Jocelyn herself took a couple of songs to get into the groove, but once she did, her voice layered over the backing group in a fine soup of sounds. When she sang a couple of numbers in Portuguese that she seemed especially to let herself go with the music. I was glad for the opportunity to see her.

Next up was LEAHA BOSCHEN, in this occasion a solo artist playing either guitar or piano. Originating from the West Coast, she still filled the place with fans, many of whom she apparently knew personally. This made for a very personal, and informal performance that was relaxed and totally enjoyable. She dedicated songs to people who were sitting there, making it feel as much a living room as a performance space. Leaha has a strong voice that carries it through her songs. It cradles, it beckons, and it storms the castle with sheer force, as she touches on relationships and the human condition. What’s more, she looked like she was having such fun with all this. When she found out she could be on for nearly an hour, she was quite happy. The audience didn’t want to let her go when she was done.

TAMARA HEY was third up. Again the place filled with her fans. She plays acoustic guitar, and she was backed by electric guitar and piano. Tamara is another performer who looks like she is having a blast up there. One of the aspects I admire about her is that her topics are not typical. For example this night, songs included missing someone (“Right This Minute”, one of my favorites of her work), realizing a relationship is ending during a boring flight (“Up in the Air”), or working a really crappy temp job (“Part Time Help Me”, which she announced was a true story). There were many other songs off her CD I was hoping she would do, like the incredibly sad “More Like Melanie” or the toe-tapping “Pebble in My Shoe”, but I certainly would not say I was disappointed by the selection. I enjoyed hearing material that’s new to me. Tamara’s voice is on a higher register, but has a bite to it. Her music has just the slight hint of Nashville, but not so much one would want to shout “yee-haw”, if you get my drift. I recommend getting her CD and seeing her perform. She plays around often, and I may even see you there.

Official Tamara Hey Song List For the Night:
1. You Wear Me Out
2. Up in the Air
3. Round Peg
4. Right This Minute
5. October Sun
6. Somebody’s Girl
7. Drive
8. Part Time Help Me
9; Long Dog Day

There were more bands to play, as is the custom at the Rockwood, but I knew it was time for me to go. And have a sandwich at Katz's.

Here is a link to more photos from the show: http://community.webshots.com/user/ffranzos2006v1

CD Reviews

Here are some CD reviews that the artists have been kind enough to send or give to me. They cover a spectrum of styles. Comments are always welcome.

Hailing from out west (okay, Michigan), I must say this self-titled CD by CHOKING SUSAN (chokingssusan.com) really pissed me off. I mean, it’s so much fun that I felt almost gypped by its being only 15 minutes. Seriously, this is majorly entertaining. The band is solid Ramones throwback – a compliment that complements vocalist Colleen Caffeine. Okay, I realize this is exceedingly obscure, but Colleen’s voice remind me a lot of Canadian singer Anne Lorree, though the style is ever so different. Very clean sounding recording and so sharp leading the buzzsaw behind her. And I do mean behind; the vocals on this recording are so far in front of the band in the mix, that sometimes it has a karaoke feel, but it all comes out in the wash with fun songs, dynamite instrumentation, sublimely racous lyrics, and keen vocals. A must NOT to avoid. - RBF
Here is a link to the photos I took when Choking Susan played at CBGBs in 2006: http://entertainment.webshots.com/album/554604681UlHbBX

OBJECT is not just a rock duo but a couple as well. Eric is the voice and plays a strong guitar with a grunge style. Maria is a kick-ass, full-on energized power drummer. I’ve seen them play a few times now, and they never fail to impress. Their songs, including the 5 here on “The Mirror World” (Velcro Kitty, c/o objectband.com), are brash and inventive within its genre. “Talk Too Much is the catchiest and easily the breakout of this collection. And there is the irony for this connected couple: the lyrics are all first person about the misery of relationships (an example is “You are a hole I fell into” from “The 8th Floor”). While I don’t know what that is all about, I am convinced the Object as a whole is wholly worthwhile listening. - RBF
Here are some photos at a show at Peggy O'Niell's in Brooklyn which feature Object: http://entertainment.webshots.com/album/544794675WCPomm

The first (and last) time I met TERRY SULLIVAN was outside Max’s Kansas City, when his seminal Buffalo band The Jumpers played there. That group should have made it. Another of his bands, the Restless, came close. Now here is a solo release that highlights what Terry can do. Terry was always a great rocker, and this release, "The Earth Moovs Around the Sun" (goodcharamel.com), shows his growth, adding some Cars-ish/Bowie-like pop edges (Bowie especially on cuts like “Mr. Completely”). Jumpers co-member Bob Kozak, one of the better songsmiths to come out of Erie County, joins him on a few cuts. Terry covers a bunch of different pop-rock styles, including blues inflection, Springsteen-type rock, ballads, singer-songwriter, and even some programmed techo-influence. Sounds like he’s all over the map, and, well, perhaps he is, but this is a decent exercise in pushing his own envelope. That being said, I still have to add that I’d like to hear more of the Jumpers’ style “I Wanna Know What’s Going On” straight bar rock. – RBF

We went to see Mary Gatchell play at the Rockwood on the Side of the Lower East, and figured we’d finish our drink and go. But fate had other plans, when TAMARA HEY came on. We did not leave until after her set, as she transfixed us right from the start. After her set, I got a copy of her CD, “Right This Minute” (Sunsound, c/o tamaramusic.com), which I’ve listened to a number of time now. Tamara is a local veteran, but this was my first taste of her sound, a comfortable mix of pop, singer-songwriter, and just a touch of country. Her voice is reminiscent of Emmylou Harris without the vibrato. A sweet voice with a solid band (including her own guitar) and excellent production values. There are lots of standout cuts, including the title one, “Up in the Air”, “”Rainy Rainy Cloud”, and so many others right to the end . She can break your heart with “More Like Melanie”. to getting your foot tapping with the bluegrass influenced “Pebble In My Shoe.” I feel fortunate to have the happy accident in seeing her. Won’t be the last. – RBF
Here are the photos I took of the show mentioned in this review: http://entertainment.webshots.com/album/552522711roiCPv


At that same Gatchell/Hey show, I also ran into chanteuse KATHY ZIMMER, who gave me her CD “Dreamin’” (kathyzimmermusic.com). Kathy’s vocalizing is clearly the focus of this 15+-minute EP. Her voice is silky and cultured like a pearl, with a velvet smoothness that is reminiscent of laying in a bubble bath. There is a strong jazz influence and a hint of operatic training in there. She sounds like she could be singing standards sitting on a piano, or jazz on a rainy afternoon. The four songs, written by Kathy, are all right in their own right, but actually her voice seems stronger than the material. Really, that’s meant as a compliment of degree. – RBF


I will try to put up 5 reviews every few days or so. Keep those CDs coming in, folks.