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“Since K Got Over Me” – The Clientele
(Words: Alasdair MacLean, music: The Clientele, available on Strange Geometry, Merge Records 2005) 

Follow my logic here: “Since K Got Over Me” borrows a bit of the melody from The Crystals’ “Then He Kissed Me,” a song I strongly associate with Goodfellas.  Martin Scorsese used the song in the film’s famous single-take shot of Henry Hill and date entering the Copacabana through the service entrance.  As the camera snakes through the kitchen to the front of the club’s room, the Phil Spector-produced track lends some of its giddiness to this very unique date.  “Then He Kissed Me” helps to set the mood in this scene perfectly, from the liveliness of the club and the people working behind the scenes to the surreal feeling of the world bending to Hill’s whim. 

The connection between “Then He Kissed Me” and “Since K Got Over Me” led me to start thinking about the kind of scene this song would soundtrack.  Even if the production isn’t like Spector’s “Wall of Sound,” “Since K Got Over Me” relies on reverb to create atmosphere.  In fact, the cleaner, more distinct instrumentation gives the song a woosy feeling to it.  Alasdair MacLean’s vocals describe feeling out of sorts, so I’m inclined to think that my “Since K Got Over Me” scene would not be capturing a rise to power (like Henry Hill in Goodfellas) but rather someone hitting a snag.  Perhaps, as homage to one of cinema’s more famous scenes, my character could go through the same sort of gauntlet that Hill follows through the unseen side of the Copacabana.  Wherever he is – entering a club through the service entrance, taking the long way in to work, or whatever – he ends by pulling up his own chair alone, left to sort out the issues running through his brain.  While Hill becomes the most powerful man in the room, I’d want this character to seem powerless, or at least restrained by these issues.

Anyway, that’s just my idea.  What kind of scene would you soundtrack with “Since K Got Over Me?”

More on The Clientele: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: the clientele | goodfellas | Martin Scorsese | 2005 | 2000s | merge records | cinematography | phil spector | the crystals |
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“Just My Imagination” - The Rolling Stones
(Words/music: Barrett Strong and Norman Whitfield, available on Some Girls, Virgin Records 1978)

For a long time, I was largely indifferent to the Rolling Stones.  I chalk this up to the two ways that I knew the band.  First, years of classic rock radio listening squeezed out the charm out of most of their singles; I had heard “(I Can’t Get No) Satisfaction” enough times to where I could recite it in my sleep.  I also knew the Rolling Stones generally as caricatures – they were the old guys who must have named themselves when they were playing during the Flintstones’ time.  I’d see them pop up on TV from time to time – specifically, any time they started another marathon stadium tour – and jumped to the conclusion that they filled stadiums solely on nostalgia.  I didn’t doubt that they were once great, but I assumed they were a long time past their prime.

On a whim, my friend Matt and I went to go see the Martin Scorsese directed Shine a Light in an IMAX theater back when it came out.  We went in the middle of the week so we among about a half a dozen people, making it the smallest audience the Stones played to in years.  I was blown away by the band – the film (and, to be fair, the IMAX setting I’m sure) made them loud and exciting, but underneath the giant screen and booming sound system were the same two things I founnd when exploring their catalog deeper after the film.  First, this was a band that had a tremendous amount of fun on stage – the members were smiling and goofing around playfully, and it translated to their music.  I was also impressed at the range that the band (with the help of their axillary musicians) could cover. 
Their cover of the Temptations’ “Just My Imagination,” one of my favorite parts of the film, showed both of these elements.  The Stones moved out of their blues-based comfort zone and made this Motown standard swing.  If a lot of their songs suited smoke filled rock clubs, this is a song for summer afternoons, with Keith Richards’ guitar sounding playful and Mick Jagger sounding like he’s having fun.  Suddenly, it dawned on me: this band still performs because they enjoy it.  As soon as I came to that realization, I understood their continued charm – when a band this good has fun, it’s easy to have fun with them.  I guess that translates to arenas of thousands and IMAX theaters of a half dozen.

More on The Rolling Stones: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: rolling stones | Martin Scorsese | 1978 | 1970s | track analysis |
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“Waiting on a Friend” – Luna
(Words/music: Mick Jagger and Keith Richards, available on Close Cover Before Striking, Jetset 2002)

I have a mixed relationship with the Rolling Stones.  I first soured on the Rolling Stones as a teenager after hearing the same ten songs on the radio over and over again.  Still, I found my way to Exile on Main St., in part because of all of the praise I read in the music magazines I read back then, and in part because we had a record store a couple towns over named after the album (the store has since closed). I’ve grown to love the album (or most of its gritty, swaggering songs), but I immediately dismissed it the way a teenager dismisses things – by comparing it to something you loathe.  I thought Exile on Main St. sounded too much like the Black Crowes (a comparison they would die for, no doubt), and that and my growing indifference to hearing “Beast of Burden” one more time on the radio were enough to extinguish most of my interest in the band. 

Of course, I later regretted this sweeping generalization, but it took hearing the songs in a different context. One was hearing Rolling Stones songs used in movies – Martin Scorsese must have Jagger and Richards on speed dial, as he uses the Stones excellently in his movies (it’s also worth noting that seeing his Rolling Stones film Shine a Light on IMAX cemented my fandom, but I’ll elaborate another time).  Wes Anderson uses some more obscure Stones songs as well, and “Play with Fire” in The Darjeeling Limited made me stick around for the entire credits just to get the song’s title.  Other times, I needed to hear a Rolling Stones song without knowing that it was a Stones song in order to overcome my aversion.  I remember hearing Luna’s version of “Waiting on a Friend” while previewing music for my college radio show.  I recognized the song yet couldn’t immediately place it as a Rolling Stones song.  I like the way this cover version preserves the feel of the original song by juxtaposing the laid back, breezy instrumental with Jagger’s overtly emotional lyric.  Luna stays faithful to the original arrangement, save for adding a little more reverb to their guitar tone.  I also like Dean Wareham’s vocals on Luna’s version, as his more relaxed singing voice suits the song well.  Mick Jagger scored points for “letting his guard down” (or as Buffalo Tom’s Bill Janovitz puts it on Allmusic.com – “a rare instance of him letting down his mask – or layers of masks), Wareham sounds earnest in his pleas for companionship.  To make the honest pun, Luna’s cover got the first stone rolling in my re-evaluation of the Rolling Stones with this cover.  I still might change the station when “Satisfaction” comes on for the fourth time in a day, but now I’ll  go home and put on an entire album instead.

More on Luna: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: luna | dean wareham | mick jagger | the rolling stones | martin scorsese | wes anderson | 2002 | 2000s | track analysis | cover song |
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