It’s an interesting thing when a beat is so powerful it can be used for different pieces of music that each become all-time favorite songs in one’s collection. Such is the case with the beat of the Stevie-Wonder-written song “I Can’t Help it”, performed by Michael Jackson on the album, Off the Wall, which was later sampled and mixed on the Fabolous album, Real Talk, for the song, “Baby”. While each of these songs carries its own strengths, I find weaknesses in neither in regard to their respective genres; and each is seated among my favorite songs of all-time.

Now, first, let me explain myself in regards to Fabolous, a rapper who I am sure many of my readers find loathsomely awful–even to the point of placing him in the same category as Nelly. I happen to enjoy Fab’s method of rhyming as well as his slurred flow, and despite his place as more of a rap-pop performer than a hip-hop artist, I enjoy select pieces of his music, particularly because the sounds he tends to use just work for me. That being said, Fab’s song carries the beat well, and “Baby” has a smooth melody, chorus, and overall solid groove to it (which catapulted it to top status in my hip-pop catalog). Fab’s “Will you be my, B-A-B-Y” works for me, and I really enjoy the song–though the album version of it has a terrible outro attached which I always have to jump over when listening to it. The outro, however, is hardly a reason to knock the song itself.

Despite my enjoyment of Fab’s take on this beat, however, I find Michael Jackson’s use of it on Off the Wall far superior–to the point that Jackson’s “I Can’t Help it” is my favorite in his entire catalog, even beating out “Thriller”, “P.Y.T”, and “Remember the Time”. Something about Jackson’s vocal stylings on this beat just make it all the more smooth and melodious, and the more subdued use of the music, rather than the heavy production on Fab’s version, works better with the beat, in my opinion. In fact, the Jackson version is SO GOOD, one could easily argue that it nullify the need or desire to even check out Fab’s version. You get the best of the best with Jackson.

But again, for those fans of Hip-pop, give Fab’s a try, too, because I really love the underlying beat used in each of these songs; and both versions have their strengths; but comparing and contrasting them, Jackson’s take is still the better of the two.

Okay, I know we’re all tired of Motown classics being redone, enhanced, and covered to death. I get it. For the most part, I agree with the average person’s resentment and exhaustion over the practice. Sometimes, however, in the endless sea of hack jobs, a stand-out emerges to prove the practice is not entirely disagreeable. When this occurs, it’s wonderful, for the new music is enjoyable in a new way, a very different way than the original. I cite Robert Palmer’s excellent Marvin-Gaye-Cover-Medley as an example. Palmer does a highly produced rendition of the classics, “Mercy Mercy Me” and “I Want you”, blending them into a single wonderful 5:00 minutes of music. Palmer’s rock influences unite with the pure soul of Marvin Gaye to create a new but familiar sound that is quite excellent and will appeal to those who aren’t into soul but like rock. I would never say Palmer’s cuts are better than Gaye’s under-produced, quiet anthems, but these later versions certainly pay high tribute to the original mixes. If you have your doubts, check out the video below.

SONG of the POST: “Mercy Mercy Me/I Want You” by Robert Palmer, from the The Very Best of Robert Palmer.

Okay, I know I have at least one reader shaking his head in disgust. How could I possibly acknowledge musical virtue in the destruction of a brilliant rock anthem by a worthless, white rapper? Well, two reasons, I find Eminem to be incredibly talented and skillful; and frankly, if any rap artist is gonna take a legendary rock song and morph it into an urban beat, I’m glad it’s him. Second, it’s my site, so I can do what I want.

For those unfamiliar with the song, “Dream On” is an early Aerosmith power anthem that exemplifies the band’s skill and bravado. The song is haunting but bold, it’s structured wonderfully with a lulling build into cataclysmic screams and blood-pumping guitar. In my opinion, it’s one of the best rock anthems in history, and it’s the type of song that really makes one appreciate a band that many people arbitrarily hate, simply becuase they aren’t Zeppelin, Black Sabbath, or Iron Maiden. If you’ve never heard Aerosmith, “Dream On” is an excellent starting place–althoguht, you may be disappointed in much of what you find after. “Dream On” is a high standard to reach.

Descending from “Dream On” some 20+ years later is Eminem’s incisive urban jam, “Sing for the Moment”‘. This too would be an excellent starting point for a person who has never heard Em but is willing to give him a chance. “Sing for the Moment” is another indictment of middle class white culture by one of its own bastard sons; and while the ideas are nothing new for Em, the way in which his ideas are structured and communicated is pretty solid–they meant something to me anyway. Em uses “Dream On” as the sample around which he builds the beat for “Sing for the Moment”; and I will say this, the beat is pretty solid. I recognized the Aerosmith jam the moment Em’s song began, and I found to be a fairly engaging track on the musical level (since I love “Dream on”) and the lyrical level (since I get what Em’s saying). Even if you disagree with Em’s message, he is a skilled wordsmith, and the way in which he constructs his verses makes his music interesting to engage and interpret. When the music on which his lyrics are laid is this good, well, I would say it’s worth a listen. As you can tell, I definitely took notice.

Now, I would never, never ever ever ever ever –no, not ever, ever–say that I like “Sing for the Moment” as much or more than “Dream On”. It’s not even close. I mean, c’mon, “Dream On” is legendary rock, and Em’s track is merely a solid use of that legendary rock. If i were meviewing the songs, I’d give Em’s a 5 and Aerosmith’s a 7. Again, I’m just trying to engage the music and give credit where it is due, and Em’s song is a worthy use of the sample. It’s a good song, leaning toward excellent or great; and I dig it. It even includes the Aerosmith guitar solo, so I do feel the song pays tribute to the legendary original music also, and I respect that alot.

AND, here’s the rub. If the Em song convinces at least one person to check out “Dream On”, then I am so thankful that the sampling was done. I mean, that’s really the best part of listening to samples and covers, it oftentimes directs me back to other music I would not have found otherwise, and sometimes I even like the original stuff better. So, there you have it. Thoughts?

“Inside My Love” is probably one of my top 250 songs of all-time. It’s a smooth and vocally arresting sex ballad from Minnie Ripperton, complete with a full story of the meet and greet prior to intercourse and climactic orgasmic scream near the end. Hell, I almost get a bone-bone just thinking about it. Yeah, it’s that good. In fact, I’d put it into the echelons of my favorite sex ballads of all-time, far above Boyz II Men’s, “I’ll Make Love to You”, or even the supposedly-perfect “Let’s Get it On” by Marvin Gaye. “Inside My Love” is just that good to/for me, and in my opinion, it sets the foundation for half of the filler content on Janet Jackson’s discs from Janet to the present, which is excellent (if you’re a fan of Janet, like me, you know exactly what songs I’m talking about, “Moist”, “China Love”, “Would You Mind”, I could go on for days). Anyway, yeah, MInnie Ripperton’s “Inside My Love” Check it out.

So, given my affinity for “Inside my Love”, you’ll understand why I lost my mind with joy upon hearing “Lyrics to Go” by rap Legend’s, Tribe Called Quest. “Lyrics To Go” is a laid back entry from Tribe, with a rhythm made even more smooth by the flow’s of Q-Tip and Fife–in fact let me just take a minute here to say, freaking Q-tip should be a damn instrument, that guys flow is so smooth and melodious its like hearing someone play the ivories. I don’t know how to explain it, something about the mix of his flow and voice is a gift from the heavens. damn. Ayway, “Lyrics to Go” incorporates the aforementioned climactic scream as a base beat on which the rest of the song is built and designed, and it’s one amazing tune in and of itself. If you’re a rap fan familiar with “Lyrics” but not big into soul, be sure to check out “Inside My Love” because you’ll apprecaite both songs in a new light.

You may or may not like Michael McDonald, but his song, “I Keep Forgettin”, has–if nothing else–a great beat. It’s a smooth deal with hot bass, guitar, and synth mixed into a harmony of grooving wonder. McDonald then goes into his lyrics, which one may or may not like, and the song gets a little cheesy with some added instruments and lighter harmony at the verses. Nonetheless, the driving beat continues throughout the song, and it’s hot. Most people will most likely dislike this song overall given the lighter faire and McDonald’s vocals, BUT the beat is still excellent.

One producer who saw its potential was the early 90s rap superstar Warren G, who then used it as the founadation for his song, “Regulate”. Now, “Regulate” is–how do I say this–undoubtedly one of the best, most iconic rap tunes of the 90s, perhaps of all time. The duet by G and vocalist Nate Dogg is a ballad of G’s misadventures on a given evening, and the tone, lyrics, and scheme blend into a groove rivaled only by the masters of soul themselves. It’s fantastic!

In fact, this is a perfect example of why samples and covers are great, because the sample, in this instance, completely overshadows and improves upon the original. I hate to say this about a Michael McDonald song (as I am one of the few people who actualy enjoy his music), but it’s no where near as good as Warren G’s “Regulate”. “I Keep Forgettin” just can’t hold a candle to it. It’s not the fault of “I Keep Forgettin” or McDonald; it’s just that “Regulate” is a near perfect song. Again, both have that excellent beat; and I love Michael’s music, and I encourage checking out his tune, particularly if you want that beat WITHOUT the rap lyrics; but overall, “Regulate” is just too good. So, that being said, give both of the songs a listen–and if you have any love for rap, BUY “Regulate”.

PRAISE AND HONOR to frequent commentor Chris Chandler for pointing out to me that “Regulators” is not the name of the song. The correct name is “Regulate”. I originally called “Regulate”, “Regulators” in this post and have now corrected it; but Chandler deserves editing credit for his comments. I apologize for the mistake. I purchased the song from Buy.com several years ago,and the last remaining copy I have is on a burned CD, so I did not have the full album info. Thanks, Chandler..

“O Fortuna” is perhaps the most epic piece of music put to paper and carried out in notes. The song is a two-part onslaught on your ears, beginning with a long build up and exploding into a huge, breakneck cataclysm of instruments and vocals. It’s epic, “classical” music at its best; only so far as my research showed, it was put together in the 20th Century (and people say Classical music is dead). The song, composed by Carl Orff, has been performed by hundreds of orchestras and used in films and commercials for years; and I’d say it’s an “iconic” piece of epic music–maybe one of the best songs of the last 100 years. Also, it is one of my personal favorites.

When Puff Daddy and Nas united in the mid 90’s to create the song “Hate Me Now”, it’s no surpise they would choose to sample Orff’s musical epic. In fact, “Hate Me Now” is arguably carried in full not by its own lyrical content or even the stylized flow but the beat itself, constructed off of this older piece. The taking of “O Fortuna” truly lifts what would have most likely been a mediocre entry into rap music genre (Puff Daddy’s chorus in particular yields a “meh” reaction from many ilsteners). All that said, however, “Hate Me Now” is a good, epic piece of Rap music. It’s fantastic. The song’s vitriolic attitude is conveyed perfectly through the beat, and it is fully realized through Nas’ flow as he spits on his detractors. If you like rap, this song works.

However, I don’t think that rap is a genre for everyone, and I would say the best thing about the relationship of these songs is that the sampling in “Hate Me Now” may lead some peope back to “O Fortuna”, which is a fantastic piece of music which most people will enjoy.

Songs of the Post: “O Foruna” performed by the Boston Symphony Orchestra from Carmina Burana and “Hate Me Now” by Nas featuring Puff Daddy from the album I am…

“Never Can Say Goodbye” is one of those Jackson 5 songs that flew under my radar for years despite my appreciation for the group’s big hits. I even had the song buried in my CD collection, but I was never aware of it until I heard the song at a BBQ and wanted to hear more of it. Frankly, I think it’s one of the best outings from the group. Michael’s vocals are fantastic, and he belts the chorus with precision and soul. The back-ups from the other brothers are great and enhance the track. Couple this, of course, with the smooth and relaxing blend of windinstruments and percussion, and you’ve got yourself a great Motown era hit.

Fast Forward nearly 30 years, and you’ll get another version by Vanessa Williams. While her take on the song is far inferior, it serves a wholly different funcation in its style and gives listeners a much more adult contemporary feel. It’s much more mellow, given her restrained but strong vocal performance; but its more low key and soft tone gives it a very unique and enjoyable feeling more akin to Smooth Jazz than Soul, and that’s okay, becuase it lends itself to a new audience which may not like the feeling of older music.

I’m unsure if this is originally a Jackson 5 song or they covered it from someone else, but it was certainly the best of all the versions I checked out (i did the ol’ Itunes sweep of the song, listening to 30 seconds of each version). Vanessa Williams’ vocal take on the song is much more toned down than Michael’s, and overall I would say that hers is less memorable as a result. Michael Jackson’s performance of the line, “Tell me why, is it so” is just awesome and makes the whole song better. Given Vanessa’s smoother mood to the song, it’s understandable why she’s restrained, so I still appreciate her version as well. That being said, both are enjoyable for their differences. I like listening to the Jackson 5 version in the daytime and the Williams version while working on stuff at night.

Song of the Post: Either version of “Never Can Say Goodbye”.

Sade’s original hit song “No Ordinary Love” is probably one of my top 100 favorite songs of all time. The haunting ballad of one individual’s desperate attempts at fulfilling a lover’s needs is not only musically moving but lyrically beautiful, with the lines like , “I gave you that I had inside and you took my love, you took my love.” and “I keep crying, I keep trying, for you. There’s nothing like you and I” spread throughout the song as a plea for continued companionship in spite of one lover’s dissatisfaction. The song is haunting, both musically and lyrically, and it just rocks. Sade’s original version appeard on the album, Love Deluxe (one of my top 10 albums of all time), and it serves as one of her most beloved pieces. The guitar is especially noteworthy in her version, as it really carries the intenisty and raw emotion of the song while maintaining balance with the songs ethereal groove.

“No Ordinay Love” was covered by Chris Botti on his album When I Fall in Love, and while the blueprint of the song remains intact, Botti’s wordless entry is still excellent. Botti essentially replaces the guitar and lyrics with a brillaint trumpet melody, and the light, airy sounds of it makes for one fantastic interpretation of mood and feel consistent with the original while also solid on its own. He not only captures the emotion of the song without its lyrics, a difficult task in and of itself, but also compliments the original track by offering an instrumental counterpart to it–a re-invisionaing of the piece as a wholly instrumental re-telling of the notes and tone.

Both of these versions are great songs in general, and I have yet to meet a person who dislikes them, even if said individual doesn’t particularly like this Jazz or Adult Contemporary, the genres of the cover and original, respectively. The song, originally written by Sade and Stuart Matthewman , in and of itself, is just a well crafted piece of music, and most open-minded listeners can appreciate that. If you ahven’t heard it, jump over to Itunes and give it a 30-second listen. Both the samples hint at the moving power of the full song without giving it away in full.

SONG OF THE POST: is of course, “No Ordinary Love” performed by either Chris Botti or Sade.

Grace, Peace, and Thanks to you all. I encourage each of you to pour yourself a drink, get in a comfortable chair, and listen to 10 of your favorite songs. Just invest 45 Minutes, sit and enjoy. It’s a grand experience of wonderful proportions, and I think it will benefit your ear, mind, and soul.

I am taking a stand. I know people will disagree and that’s fine. That’s what the internet is for.

I know some people hate the idea of covers or sampling, but I encourage it. Frankly, I think it is a valuable thing for culture and the individuals in it. I have no problem with reinterpreting the blueprint for a conjunction of sounds to make music; and frankly, that’s all covers and remixes are. Samples simply lift a portion of said blueprint and implement into another set of notes in order to enhance or better develop a new work. Both of these practice extend the reach of the original written music to new listeners, and I think multiplying the possible effect or impact of an original piece of music is a good thing. I fully encourage it. I know some people feel that songs are very unique to their original authors and/or performers; but I am taking a stand on the stage and welcoming covers, samples, and remixes with wide-open arms. Here are three reasons why:

1) A Cover or Sample does not taint or, even, directly effect the original in any way. A number of songs I enjoy have been sampled, covered, and remixed; and for a great deal of time, I hated that. I felt it was an abomination to alter music from one genre to another, or perform a cover with a different overall feel or tone. I loathed the practice more due to my dislike of the products from it, rather than my actual dislike of the practice itself. The thing that I failed to accept was that the cover or sample had no effect on the original. I still had the original, I could still enjoy it and just ignore the later piece which stemmed from it. No harm, no foul.
CONTENTION: “A cover can ruin an appreciation of the original song, particularly for those who have never heard the ‘real’ one but enjoy the cover”. Well, this contention holds to a PERSONAL OPINION of music’s imbued value. It is not an objective truth that the original version of a song is the “best” version. That belief is a personal assessment of music as an art form, but it is not a definitive statement of factual truth. Sorry. For all intents and purposes, a person can like a cover or a song which samples a piece of music more than the original, and that isn’t a “wrong” choice.

2) A cover/sample can lead a person back to the original, which they can then engage and possibly enjoy. For purists, this is actually a good thing. More often that not, when I have heard a song I really like, I mean REALLY like, I go on iTunes or Wikipedia and try to find if it is an original version, sample or cover, etc. Sometimes I like it more, sometimes less; but at the very least, the cover or sample led me to the original, and I think it is still a good thing in that I am being open to music I may not have found otherwise.
CONTENTION: “But if a person likes a cover more than the original, that’s a problem. A person SHOULD like the original more.” Again, this is personal opinion, one with which I disagree, and the fact that at least the original was engaged and given a chance is a positive one.
3) A cover/sample is equal in possible effect as the original, and whatever said effect is, it CAN be positive. Music affects people differently, and I love that. Some covers, particularly those that transfer the genre of the music, can really reach listeners in ways the original wouldn’t it; and in that way, the music itself, that is, the notes and lyrics, has the possibility to effect the new listener in the same way the original affected its listeners.
CONTENTION: But a cover /sample can ruin that “blueprint” as you call it. It takes the music and changes it. I disagree with this, again; because I think that music is bigger than a singular interpretation of the written formula which leads to it. The blueprint is just that, the foundation, the instructions so-to-be speak; but if one needs to alter or stray from the blueprint to best convey the ideas and emotions of the song one is creating, then I think it is acceptable. Again, this is a contention that is based in personal opinion, not objective truth.

Okay. Now, you may disagree with my stance on this, and I am fine with that outlook. It’s cool. But frankly, I can’t get to that point myself. All this to say, I am going to introduce a new feature called “Musical Multiplicity”. It’s going to be very brief, semi-regular deal wherein I recommend checking out two versions of a given song, usually the original and a cover. Sometimes, I will offer more versions, particularly if I don’t dig the original but want people to still have options. I won’t be doing this arbitrarily; I’ll only be recommending songs I like (no posing here). So, anyway, Please comment on this. I love engaging ideas about music in this way, and I’d love your opinions, agree or disagree.