Hero - Frank Ocean + Mick Jones + Paul Simonon + Diplo

Rusty's waltz wednesday presents: Hero, by Frank Ocean, Mick Jones, Paul Simonon, Diplo

I had a few good ideas lined up for today's post, but then I stumbled upon Frank Ocean's tumbler, got myself into a click hole, and found this song.

Frank Ocean + Mick Jones + Paul Simonon + Diplo:

I won't make this too extensive. Frank Ocean is a great modern RnB singer. His vocals don't have the over-the-top quality like - say - the recently deceased and previously profiled Percy Sledge, and are usually pretty understated. His debut album was called Channel Orange and was very good; his fans have been waiting on 3 years now for a new album, which I hear is being released in July.

Mick Jones are from the legendary band The Clash, just a couple rockin' guys whos songs are more or less ubiquetous today.

Diplo is a producer whom I best know from his work as Major Lazer, which is a pretty fun project.

Finally, shoe brand Converse appears to have put this project together. I like that a lot Converse, but your shoes still aren't my style...God bless.

The song:

This is the second song that I would qualify as coming (in part, at least) from the hip-hop sphere, the first being Alicia Keys' "Fallin'" .

The song starts off with a 60s sound - reverb heavy and base driven sets of two-triplets, laying down the 6/8 rhythm (I call that 2xWaltz). But by 1:08 we get a change in dynamics: the tone of the guitar changes to much more Punky (Clash members sgning in?), and we get an electronic-sounding rapid base-drum up-front - I assume that's Diplo talking. Then at 1:30 the dynamics break again, soften, as a children's choir chimes in. By 1:55 we return to the original sound, and then seconds later, back again to punk-electro, and then by 2:20 back to the original 60s vibe for the fadeout.

This is a great example of a dynamic take on the 3/4-family of rhythm. It's at times tender, sometimes punk, sometimes fast-paced, and it's all good. Thanks converse!

Fallin - Alicia Keys + early mission statement

Rusty's waltz wednesday presents: Fallin', by Alicia Keys

I took a pedagogical week off waltz wednesday, and feel more refreshed than ever.

Now, I think most readers would agree that this isn't just a space for me to nerd out on old-time waltzes. Yes, I have posted a few, but I've purposely tried to profile songs that are within our collective pop culture consciousness.

I didn't really have a mission statement when I started posting songs for waltz wednesday, but as I keep wracking my brain and music library for waltz-form songs, I think I've developed my idea. Maybe one week I'll write a formal mission statement, but until then, know that I'm interested in showing the versatility of the waltz as a song form, with a special emphasis on popular music.

Also know that all the songs here are chosen organically - I've made it a habit of whenever I listen to music on a portable device, home computer, TV, or radio, or even when I listen to music without providing consent - restaurants, cafés, bars, or kids who inexplicably use their phones as boomboxes instead of using earphones - to immediately identify whether it's in waltz form, and note it down if it's interesting to me. I do not go through online lists of waltzes, and I would ask anyone recommending a waltz to use the same process!

Alright without further ado, waltz wednesday's song:

Alicia Keys:

This song was Alicia Keys' break-out hit: I remember pretending to not like it in high school, but really, who was I kidding. She wrote and produced it, putting her skills on display as a fine musical artist. I never knew it, but it makes sense that she graduated valedictorian at New York city's Professional Performing Arts School; it even looks like she skipped a grade or two since she graduated at age 16.

The song:

IDK if you guys remember, but this song was the shit. It was released in April of 2001, and stayed on the Billboard Hot 100 for 34 weeks, peaking at #1. Somehow it placed second behind Lifehouse's "Hanging by a Moment" for the year-end top-100 chart. I mean I'm trying to make this blog a safe space for all music tastes, but is "Hanging by a Moment" ever bad. In any case, it's trivial, since everbody remembers Fallin', and nobody remembers that other song.

The song alternates between two chords - if it's good enough for Miles Davis, it's good enough for Alicia Keys. There are some nice vocals to listen to, like her voice modulation at about a minute in, or the way she plays with rhythm at the end of the second verse. As the song progresses, more and more layers of sound are added on - harmonies, Alicia's vocal improvisations on the melody, strings, more cymbals on the drums, etc.

This is the first song in the hip-hop sphere of things. Don't think I haven't been trying to find more, but I just can't. Frankly, the entire genre's unwavering loyalty to the 4/4-multiple time is disappointing, and smacks of a lack of creativity or willingness to take risks.

On that note, I'm going to embed the original song first, followed by a remix that they completely changed to 4/4. It's a good study in what a waltz is/isn't, if it - understandably - isn't entirely clear.
The genuine article:

And now in 4/4 because, for some reason, Busta Rhymes couldn't figure out how to rap in a 3-multiple time signature..? Weak.

...and for good measure, Sarah's favorite Alicia Keys' video, featuring the rapper Mos Def:

...and my all-time favorite Alicia Keys song, featuring Lucas from one-tree-hill, and an actress from the Wire? Seriously this is one of my favorite songs of all time:

Percy Sledge - When a Man Loves a Woman

Rusty's waltz wednesday presents: When a Man Loves a Woman, by Percy Sledge

Wellsir, it's valentine's week here at Rusty's waltz Wednesday, and as it happens, in the world at large. So I could not resist the urge to feature this smoocher: When a Man Loves a Woman (WAMLAW), by Percy Sledge.

Percy Sledge:

Mr. Sledge is from Alabama, and began playing gigs while working as a hospital orderly. His musical roots are in southern gospel, and when WAMLAW was released in 1966, he became the first southern soul artist to top the charts: 2 weeks at the top, in May 1966.

Imagine if it were today, people: Mix 96 Virgin Radio playing this song 12 times a day; second cup embroiled in an ill-fated bidding-war with starbucks for the musical rights; background music for a Fido Mobile ad; and young people gyrating on the dance floor to the slick 1-2-3-1-2-3 set out by the hi-hat.

The song:

I'm deliberately choosing to share the live version of WAMLAW, found on Mr. Sledge's VEVO channel, because he sings with great feeling and effort, it sort of revived my appreciation for the song.

For you see, I - like you, dear reader - had become sort of numb to this song. And that is to the singer/songwriter's own credit, a reflection of how huge this song is: I - like you - have likely heard this song upwards of fifty times without ever having pressed a "Play" button.

This was the first song he recorded for his first ever record contract, in 1966. This recording is from 1966 or 1967, because Otis redding introduces the song, and poor Otis died in late 1967.

He sings this song in such a high register without breaking or going falsetto, it's stupefying. Fellas, try it at home tonight in the shower, you will sound like an idiot, and your partner might break up with you.

He also brings some great motifs from the souther gospel tradition, like the "hah!" (0:42), and ending some words with "wronggg...AH!" (3:42). On that note, this one goes out to my special lady Sarah, whom I encourage to visit each page multiple times to increase my page count.........................

Alright, enough text, enjoy! Happy love day babies....AH!