Tuesday Tunes 47: Women (for IWD)

I’m actually a day late on this, but please don’t hold it against me! Yesterday, as I’m sure you are aware, was International Women’s Day (IWD) and I felt I should mark it in my own way. So this week’s theme for my tunes is: women. The message for this year’s IWD is #ChooseToChallenge – if you want to know more about it, you can find the official website here. I’m acutely conscious of the fact that I, a man, am writing a post that marks the day for women – I assure you, it is done from a position of respect (a word that you will see again later). We are in the 21st century but women are in many ways regarded as inferior citizens: that is just plain wrong, and I fully support the day’s objectives, and hope that this post will in some way help to raise a tiny bit of awareness of the need for society to improve.

I feel that I should begin with something rousing and anthemic, and this one fits the bill:

Two female icons of pop music together: it doesn’t get much better than that. This was a track on the Eurythmics’ fourth album, Be Yourself Tonight, which was released in April 1985, peaking at #3 in the UK and #9 in the US. It was released as a single, and reached #9 in the UK and #18 in the US. If you didn’t already know that this was from the 80s there are some big style clues in there: Dave Stewart rocking the ‘pop star twat’ look is probably the biggest of these. But nothing can detract from the power of the song and its lyrics, which are still just as relevant today.

Today’s second tune is also a piece of iconic 80s pop. A simple song and message, with a superb video:

This was track 2 on Cyndi Lauper’s debut album, She’s So Unusual, which was released in October 1983. It’s a wonderful first record, and I played it a lot when I bought it. As well as this song, it includes Money Changes Everything, She Bop and Time After Time – see what I mean? The album got to #4 in the US and #16 here. This was the lead single for the album, released the previous month, and was a #2 hit on both sides of the Atlantic. The lady playing the part of Cyndi’s mum in the video is… Cyndi’s mum. Apparently the video only cost $35k to make, largely because the cast – who also include Dan Aykroyd – were unpaid volunteers. It is a load of fun, and the underlying message is still strong. It also won two best female video awards, one of them from MTV.

I’m taking the pace down a little with my next tune, which is also the only one this week by a male performer:

A simple song of love, apology and regret, and it is beautiful. This was a track from the 1980 album Double Fantasy, which was credited to both Lennon and Yoko Ono: they each wrote seven of the album’s fourteen tracks. It marked his return after a five year break following the birth of his son, Sean, and was released in November 1980, just three weeks before he was murdered. The album was #1 in both the US and the UK, as well as in Australia, Canada and Norway. Before he died, Lennon had chosen this to be the second single from the album, following (Just Like) Starting Over. It was released in January 1981, and was #1 in the US and #2 in the UK. Lennon described it as ‘an ode to Yoko, and to all women,’ and it is certainly that. As I said, it is a beautiful song, and you can feel the love in it.

A fun one next. I don’t think this one really has true ‘feminist’ credentials, though the lyrics kind of go in that direction, in a sort of follow up to Cyndi Lauper. To me, it is just a great pop song and an enjoyable video:

This was a track on Shania Twain’s third album, Come On Over: the one that sold by the truckload. There were two versions of the album: the original, more country one for the US, and the ‘International’ version for the rest of us, which had re-recorded versions of all but one of the sixteen tracks, to make them more attractive to an international pop music audience. The track listing was also changed. I bought the version we were given, and played it to death! The video is for the version I knew back then, ie. the international pop one. The album was released in 1997, and made #2 in the US, though it was #1 on the country albums chart (for a total of 50 weeks!). The international version reached #1 here in the UK, as well as in Canada, Australia, Ireland, The Netherlands, Norway and New Zealand, so I guess the reworking proved to be a good idea. It has sold more than 40m copies worldwide, and is the ninth best selling album of all time in the US (sixteenth best in the UK). This song was the opening track on the US album version, though it was track 10 here. It was the eighth song to be released as a single – by then we were into 1999! – and was #3 here in the UK, #23 in the US mainstream chart and #4 on the country chart. To be honest, I was surprised people were still buying the singles by then – didn’t they all have the album already?!

My penultimate tune for this week is another with a defiant, ‘in your face’ message:

I first became aware of Lady Gaga when the BBC showed her 2009 appearance at Glastonbury as part of their coverage of the festival. I thought she was remarkable, and put on an incredible show. That was in her relatively early days, but she was already a huge star. I was hooked! By then, she had released her debut album, The Fame, which was #2 in the US and #1 here, amongst other countries. This song was the title track from her second album, which was released in May 2011 and topped the charts in…wait for it…the US, the UK, Argentina, Australia, Austria, Belgium, Brazil, Canada, Croatia, Czech Republic, Denmark, France, Germany, Hungary, Ireland, Italy, Japan, Mexico, New Zealand, Norway, Portugal, Russia, Sweden and Switzerland! As a single, this was #1 in the US and several other countries, but only got to #3 here: what a bunch of slackers! The video is from the Grammys show of 2011, and emphasises Gaga’s power as a performer.

I’m closing today with where I began, well, half of the initial act anyway. Whatever the message about International Women’s Day might be, there is one thing that all women (men also) deserve:

Written by Otis Redding, that was the opening track on Aretha Franklin’s 1967 album I Never Loved A Man The Way I Love You, which was #2 on the US mainstream chart, #1 on their R&B chart, and #36 here in the UK. As a single, it was #1 on both the US mainstream and R&B charts, and #10 here. The word ‘classic’ gets thrown around a lot – I’m as guilty of that as anyone – but in this case I think it really does apply.

That’s all for this Tuesday. I hope you’ve enjoyed some powerful ‘women’ songs and, if you have time, do visit the IWD website.

Till next time. Take care.


Icons And Lesser Icons

Three years ago, almost to the day, I published a post titled Starman on the death of one of my musical icons. As many of you have started following me since then you may not have seen this before, so I thought I’d share it again. At the time I had intended to write a piece honouring the memory of one of the true greats of rock music and in a way I did. But it developed into one of my occasional rants. Take a look to see why, and I’ll return after to explain why this has become relevant for me again:

“Over the past two days I’ve been doing what I expect many have been doing: I’ve been playing David Bowie songs and reminding myself just what made him such a special musician. I also spent a lot of Monday watching the TV news and the various tribute pieces that were being broadcast. Yesterday, once the print media had the chance to catch up, it was the newspapers’ turn. My newspaper of choice is The Times – coincidentally, also Bowie’s choice, according to their obituary, although I’m not sure how they knew that. Yesterday’s issue came in a lovely wraparound, which featured a portrait of him with a cigarette – an image that would have been commonplace until he gave up his 60 a day habit when his daughter Lexi was born. Inside, they reproduced the lyrics to three of his most famous songs – Space Oddity, Starman and Life On Mars  – together with some more pictures of him and the album sleeves. Tastefully done, I thought, and a fitting tribute. Turning to the paper itself, there were a further twelve pages of tribute and obituary and a news story on the front page which carried onto page 2. There was also a full cover picture on the Times2 section. As I read through this I began to feel something I wasn’t expecting after the loss of one of my musical heroes: I was getting annoyed.

This feeling had begun on Monday evening, as I watched a special 30 minute programme that had been slotted into the BBC1 schedule. On the whole, this was a far better effort than Sky News had managed earlier, but there was one part that really irked me: the BBC6 Music DJ Sean Keaveny having the audacity to talk over the famous video of the 1972 performance of Starman on Top Of The Pops. For those who weren’t around at the time, this performance is largely credited with making Bowie’s career: his only previous hit, Space Oddity, had been three years earlier and Starman itself hadn’t exactly taken the charts by storm until this appearance, after which it climbed into the Top Ten. The rest, as they say, is history. So what did Keaveny tell us while he was preventing us from watching the video? Did he mention its significance to Bowie’s career? No, he told us that because Bowie had declared himself to be bisexual the fact that he put his arm around Mick Ronson’s shoulder while they sang the chorus made this a trailblazing video for gay power. Nowhere, to my knowledge, is there on record any suggestion that Ronson – who was married once and fathered children with three different women – was gay or bisexual, so where did Keaveny get this idea from? I guess he must have been ‘in the know’ at the time, right? Er, no, not quite: he was born two months after the record was released, so he must have been quite a prodigy! Maybe the gay community can tell me that this is indeed true, but I didn’t need Keaveny talking about it all over the video. So here it his, without his act of destruction:

The second dose of annoyance was served up for me by Caitlin Moran. I am a big fan of her writing, which always amuses and entertains me whilst being thought-provoking. Her piece in yesterday’s paper was heavy with suggestion about how important this music and its era were in her teenage years, but she was born three years after Starman was a chart hit! Of course, I won’t deny that she could have been listening to the music as she was growing up, probably because her parents played it, but to try to appropriate the timeframe for this as being part of her own youth is, to my mind, at best disingenuous and at worst, dishonest.

Why is it that whenever a rock icon dies everyone has to take their piece of him or her? The Times even gave us a comment from Tony Blair, that well known musical expert and purveyor of truth. And the music critic Charles Shaar Murray telling us that other journalists used to refer to him as ‘Bowie’s representative on Earth.’ Funny, I thought that role was played by Tony Visconti, Bowie’s long time friend and record producer. Whether that is true or not, it illustrates my point. The death of an icon is important for all of us who were fans, not just for those who are being paid to go into print or on screen about it and feel the need to boost their credentials. He was our icon. We all have a part of him in our memory, and we don’t need the self-appointed steamrollering over that, claiming territorial rights over the deceased and telling us what we should be feeling or thinking. I won’t be reading any more, if I can resist the temptation. Well, not until the next icon departs……”

Little did I know it that early in the year, but 2016 turned out to be an annus horribilis with the passing of several of my favourites. Look back through my catalogue and you will find tributes to Glenn Frey, of the Eagles, who wrote the song which gives my blog its title, and Dave Swarbrick, of Fairport Convention who, along with Steeleye Span, were at the forefront of the English electric folk-rock genre. Then, to round the year off, came the sad news of the death of Leonard Cohen. All of these had been extremely significant to the development of my musical tastes, but only one provoked a rant. Why? The short answer is that the outpouring of grief for David Bowie wasn’t matched by the coverage given to the other three. They were all accorded a fairly full obituary in The Times which, back then, was my daily paper, but nothing like the coverage elsewhere that he received. I put that down to the fact that two of them weren’t British, so the innate parochialism of our media didn’t regard them as all that important, and Swarb was a folk musician so wasn’t considered to be of sufficient stature to merit much coverage. Sorry, my bunker mentality showed through a bit there! But the points I made in the piece about Bowie are still valid: I know that journalists and media commentators make their livings by hanging on to the coat tails of those who are far more talented and famous than they could ever hope to be, but I don’t need them to tell me what I should like, or feel, and I can certainly do without the blatant stupidity displayed by the likes of Sean Keaveny and Caitlin Moran!

It is probably the fact that I grew up listening to their music, but there have been other losses in the musical sphere which have been poignant for me, notably Tom Petty, whose passing I covered here. We have lost other greats in recent years: Aretha Franklin notable among them. Her death resulted in possibly the most ridiculous piece of coat tail hanging that we have ever seen:

In case you missed it at the time, those were the words of Donald Trump on the day Aretha died. Not quite the same as Tony Blair raising his head above the parapet to claim a deep and abiding love for Bowie but, in his own inimitable fashion, Trump was claiming the importance of an icon for himself – as a former ’employer’ after she sang at one of his casinos (before they went bankrupt), giving him the perceived right to claim that he knew her well. Somehow I doubt the veracity of that – but he doesn’t tell lots of lies, does he?

But what about the lesser lights of music, whose passing is barely noted by the media? Does that make the loss of them any less tragic? Where are the likes of Sean Keaveny and Caitlin Moran for them? Presumably they are making the decision not to bother, as no one will pay them for their opinions if many in the audience will be asking ‘who was that?’ about their subject. Yesterday, I learned of the passing of ‘Beard Guy.’ How many of you know who I mean? Mike Taylor, to give him his proper name, was a member of the Canadian band Walk Off The Earth (usually abbreviated to WOTE), who have had a fair amount of commercial success in their homeland but relatively little elsewhere – though they have a loyal following which enables them to tour worldwide.

Mike died in his sleep during the night of 29 December. He was 51, and had two children. Where was the mainstream coverage of this, outside Canada? Why did I need to be following the band on Facebook to hear this sad news? To his family, friends and fans this was no less upsetting, but I guess it all comes down to scale: far more people will have been affected by Bowie’s passing, and those of Tom Petty and Aretha Franklin, than by Dave Swarbrick or Beard Guy. I find that sad. Yes, I know that the bigger stars are more newsworthy, but don’t we all deserve to be remembered kindly for what we have done, especially when that has brought pleasure to many – but just not enough for the media to make money out of the passing of a lesser light? WOTE may not be the biggest band on the planet, but they have certainly made their mark. They first came to prominence in 2012 when they released a video of their version of Gotye’s Somebody That I Used To Know. This went viral, and has so far been viewed more than 185 million times, plus a further 12 million when shared by someone else. So, to redress the balance a little, here in Beard Guy’s honour is that video:

I wish he had been somebody that I used to know but, in a way, he was, as I’ve watched many of their videos multiple times and think of them as ‘friends’ whose sense of humour always brightens my day. Every passing is mourned by someone, and every individual is important. We shouldn’t need paid hacks to remind us of that. Take care of your loved ones.

RIP Mike.