I love records that are spectacular in all directions where writing, performance, recording, production and vocals all come together in one cohesive package.  Innovation and inspiration… all the pieces make us feel something special.  It’s a gift when it works.

Before even studying a record, I know it’s great because there’s this feeling of envy in my gut.  I can’t not play it, no matter whether I love the artist or not.  It makes me want to get to work.  Great records have always done this to me.  On the contrary, lifestyle records or trendy, hipster fads do just the opposite.  I listen, nod my head, and know I won’t be putting it on in the car.  Rarely have I been wrong.

Elvis made me pick up a broom and imitate him.  The Beatles made me want music as a life.  Santana’s “Samba Pa Ti” inspired me to play lead guitar.  CCR made me want a band.  “Pump It Up” and “Working Week” by Elvis Costello made me want to be a songwriter.

Nowadays it’s songs/records with creative chord changes, lyrics that inspire, smart production, sounds from an innately talented mixer, a smooth, instinctive vocal and maybe most of all grooves with a solid bass line and beat… everything.

First entry, and in no particular order but just what’s in my head at this time may be a surprise- Corinne Bailey Rae’s “Put Your Records On”.

“Three little birds sat on my window – And they told me I don’t need to worry”.

It’s a carefree lyric, but clever in it’s use of images to create the feeling of someone breaking through the walls and challenge in life.  The birds (innocence) swing by to console and remind her how to find herself, and the next line is beautiful:

“Summer came like cinnamon, so sweet
Little girls double-dutch on the concrete”

A rich vision here, conjoining the senses of sight and smell.  When a female sings ‘little girls double-dutch on the concrete’, it’s a strong inner-city image.  A reflection of innocence she now longs for.  She’s reflecting back to a time there were few problems in her world.  The scent of cinnamon is reminiscent of something mom (your best friend as a kid) would be baking in the kitchen.

Pre-chorus conflict:

“Maybe sometimes we got it wrong but it’s alright
The more things seem to change
The more they stay the same   Don’t you hesitate”

Somewhere she messed up.  Haven’t we all.  She thought she graduated from one hard place, only to find she’s in another.  Pain is pain.  So you moved on, got stronger but the hurt feels the same.  Forgiving ones self is usually the first step to fixing.  Don’t even think about it, just go.

The chorus:

“Girl, put your records on
Tell me your favorite song
You go ahead, let your hair down
Sapphire and faded jeans
I hope you get your dreams
Just go ahead, let your hair down
You’re gonna find yourself somewhere, somehow”

Little in life gives you the immediate impact of taking away a hurtful, regretful moment like putting an old record on to make you happy.  “Sapphire and faded jeans” – I love that… Sapphire is a blue image akin to blue jeans, but sparkling like youth.  ‘Faded jeans’ are something we’ve all owned and felt a deep attachment.  When the day comes we have to toss them it’s like losing a chapter of our life.  A tangible metaphor for great times, hard times, people we found, people we lost, all of it.  If our blue jeans could talk…

Such a great lyric, and displays experience from the songwriter.  I don’t know which of the three writers were most responsible for this… maybe they all played a part… but so good.

The track begins with a 3 bar intro of a single gut string note, then two, then three… transitioning horn swell into the downbeat- ‘Three little birds’ verse begins.  An affirmative walking groove of 90 bpm is a perfect companion for shedding self-doubt and finding your strength.  The verse is comprised of the same chord progression as the chorus, with an 8 bar B-section & breakdown for a fitting palette reset to start dipping to the beat of the chorus.

This kind of neo-soul is implied but not as obvious as a Jill Scott or Angie Stone since it’s on a classical guitar and not a stereo panned Rhodes piano.  The ascending chord progression plays over a descending bass line, which lends symmetry to the lyrical ups & downs.  All these elements work together to make us feel like dealing with our problems.  Inspired!  Producers Steve Chrisanthou and Jimmy Hogarth did a flawless job.

Corrine’s vocal is silky, yet not manipulative.  She conveys the perfect sentiment of the words she sings.  The use of background vocals are abundant but not that noticeable unless you focus.  It’s more a subliminal group in her head like ‘we got you!’

This record was hugely successful in both the US and UK, and has been covered, synced and soundtracked many times.  Where there’s inspiration, success follows.  Spectacular!

Cheers-

Jude