“Sex and Candy” by Marcy Playground – Chords, Tabs, & How to Play

To see how it’s played in a cover song music video: CLICK HERE!

“Sex & Candy”
Marcy Playground

B                      G                         F#
Hangin’ round, downtown by myself and
I had so much time to sit and think about myself
And then there she was, like double cherry pie;
Yeah, there she was; like disco super-fly…

(Stop; riff)

(no chord)         B   G   A
I smell sex and candy here.
Who’s that loungin’ in my chair?
Who’s that castin’ devious stares in my direction?
A                                  D          A
Mama, this surely is a dream.  Yeah.
B                          G               D          A            B   G   F#
Yeah, mama, this surely is a dream.  Dig it.

Hangin’ round, downtown by myself, and
I’ve had too much caffeine and I was thinkin’ about myself
And then there she was
In platform double suede,
Yeah, there she was
Like disco lemonade…

CHORUS

Yeah, mama, this surely is a dream.  Yeah.
Yeah, mama, this surely is a dream.  Yeah.
B                          G                                 end on D
Yeah, mama, this must be my dream.

** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **

The TOP FIFTY SONGS of 2011 (The Year-End Awards)

By Chris Moore:

At last, we arrive at the second most important list of the year: the top fifty songs.  This is the list that takes me the longest every time, even more time than the albums list.  This might be helped in part because I start writing my best albums list as early as summertime, but it’s also because I find albums easier to evaluate and rate than individual songs; oftentimes, songs shift and flux up and down over the year.

This year, my greatest challenge was finding a place for two of my former (mOu) and current (the DKBH) bandmate Mike Fusco’s new releases.  I typically avoid having one artist hog the top spots, but the truth was that I couldn’t honestly deny “Modern-Day Pocahontas” the top spot, and I tried but couldn’t come to terms with placing “Chasing Pigeons” any lower than second, even below such outstanding tracks as Brett Dennen’s “Sydney” or Wilco’s “Born Alone.”  If this reduces the authenticity of my list, then so be it: this is my honest assessment of the best fifty songs of 2011.

1)  “Modern-Day Pocahontas” – Mike Fusco

2)  “Chasing Pigeons” – Mike Fusco

3)  “Sydney (I’ll Come Running)” – Brett Dennen

4)  “Born Alone” – Wilco

5)  “L.I.F.E.G.O.E.S.O.N.” – Noah and the Whale

6)  “Arlandria” – Foo Fighters

7)  “Give It All Back” – Noah and the Whale

8)  “Rox in the Box” – The Decemberists

9)  “Hello” – Gerry Beckley

10) “Buckner’s Bolero” – The Baseball Project

11) “All That You Are” – Goo Goo Dolls

12) “Lost All My Ambition” – Mike Fusco

13) “Suicide Policeman” – Yuck

14) “Jejune Stars” – Bright Eyes

15) “Uberlin” – R.E.M.

16) “New Year’s Eve” – Tom Waits

17) “Codex” – Radiohead

18) “Comeback Kid (That’s My Dog) – Brett Dennen

19) “Black and Yellow” – Wiz Khalifa

20) “Lonely Boy” – Black Keys

21) “Two Against One” – Danger Mouse, Danielle Luppi, and Jack White

22) “Rope” – Foo Fighters

23) “Ambulance” – Eisley

24) “Face in the Crowd” – Joseph Arthur

25) “Feel” – Gerry Beckley

26) “This is Why We Fight” – The Decemberists

27) “Jardin Du Luxembourg” – The Ghost of a Saber Tooth Tiger

28) “Till I Get There” – Lupe Fiasco

29) “Dawned on Me” – Wilco

30) “Fire Fly” – Childish Gambino

31) “Release Me” – Jack’s Mannequin

32) “Tangie and Ray” – The Fruit Bats

33) “Season’s Trees” – Danger Mouse, Danielle Luppi, and Norah Jones

34) “Us Against the World” – Coldplay

35) “Surprise, Surprise” – Brett Dennen

36) “Triple Spiral” – Bright Eyes

37) “Someone’s Gonna Break Your Heart” – Fountains of Wayne

38) “Wonder Why” – Vetiver

39) “Art of Almost” – Wilco

40) “Don’t Carry It All” – The Decemberists

41) “Don’t Call Them Twinkies” – The Baseball Project

42) “You and Me” – Parachute

43) “Police Station” – Red Hot Chili Peppers

44) “Titty’s Beer” – Colt Ford (feat. Trent Tomlinson)

45) “Don’t Try and Hide It” – The Dodos

46) “I Don’t Want to Be a Bride” – Vanessa Carlton

47) “Ruined” – Hannah Fair

48) “Because the Origami” – 8in8

49) “Bad As Me” – Tom Waits

50) “Fly Solo” – Wiz Khalifa

 

Honorable Mention:

“Factory of Faith” – Red Hot Chili Peppers

“Raw (How You Like It)” – Common [late entry]

“Keep On Knocking” – The Cars

“Damn These Vampires” – The Mountain Goats

“Good Enough” (Original song by Jim Fusco) – The Open Mic Sessions

By Jim Fusco:

And now, another edition of The Open Mic Sessions with me, Jim Fusco!

Today is “Good Enough”, a rockin’ track from my 2012 album, “Those Around Us”.  The recording of this original song has some pretty tight harmonies on the bridge- I’ve always been proud of those.  Plus, I got to add in some clever electric piano to fill-out the sound.  Bet a lot of people didn’t even know there was an electric piano in there!  Though I’m sure my good buddy (and Laptop Sessions songwriter) Jeff Copperthite would notice- that’s kind of his thing. 🙂

I recorded this at Sam Ash music store in New Haven, CT in September, 2013.  There’s never many people at the store during open mic night (it’s just a nice place to get some practice in, really), but the staff really seemed to like this song.  It’s always fun paying attention to their reactions to see what songs they like.  I keep that in the back of my mind and use it to make setlists for other gigs in the future.

I came up with the line, “I’ve never been good enough to be your man, I’ve always been better than that,” and the song just kind of followed.  I like that idea- saying that you’re “good enough” for someone kind of says that your ONLY “good enough”.  I never wanted to feel like the things I’ve done are just “good enough”, though maybe in some of my older albums, I didn’t strive for total perfection.  At some point, you have to say, “Yes, this is good enough and I won’t really get it much better,” or you’ll never get anything done.  It’s been a life learning experience to balance “good enough” and “the best it can be”.

On that note, I’ll leave you with this performance of “Good Enough”, which, ironically, is not my best performance of the song.  But it’s a new take on this original song and I hope you enjoy it!  Stay tuned for more original music here on the Open Mic Sessions!



The Deep Racks Report: “Binaural”

By Chris Moore:

I think we’ve all heard the term “deep track,” used to refer to songs that do not receive much (or any) commercial radio airplay.  This series is dedicated to brief but focused reports on ALBUMS that do not receive as much commercial or critical attention as they should.

RELATED LAPTOP SESSIONS: Chris – “Thin Air” (chords included!)

When Pearl Jam released Binaural in 2000, they were met with solid sales — #2 on Billboard in the first week of its release — and decent critical reception — Rolling Stone gave it the 3.5 out of 5 stars nod.  For any other band, this may have been exciting.  However, for Pearl Jam, #2 on the Billboard 200 could be considered a minimum expectation, as even their debut album had hit that position.  As for the critical reception, Rolling Stone had rated all of their previous albums (except their first two, which had not been rated) a full four stars.  This may seem a minor change from 4 to 3.5, but it is a significant one.  The subtext?  Binaural is somehow inferior to Pearl Jam’s previous releases.

Fast forward to 2009, and let’s talk dollar signs.  I’m not referring to album sales — although Binaural is infamously the first Pearl Jam album to fail to reach platinum status, never mind the 7x and 5x platinum statistics of Vs. and Vitalogy respectively or the 12x platinum(!) heights of Ten.  I’m referring to the sticker price.  The average retail value in stores like Best Buy and Circuit City — stores at which the average for CDs is largely in the $12.99 – $14.99 range — is $5.99.  Even on Amazon.com, the price is higher (albeit a measly $1) at $6.99.  What does that say about this album, a fully studio-produced main catalog Pearl Jam release, that its retail value is less than half of the average price one would expect?

While I can’t tell you why it is valued for so low, I can report that this is an excellent album!  Admittedly, I purchased it during Circuit City’s store closing sale for only $4.  I didn’t expect to like it.  Rather, I wanted to get my feet wet with a Pearl Jam record before listening to their debut Ten when it is remastered and re-released later this month.  After a couple listens — and contrary to my expectations — I’ve become hooked on this album.  Right out of the plastic, the packaging is a positive sign — a three-fold digipack with full lyrics reproduced as images of typewritten and handwritten notes.  From the breakneck pace of the first track “Breakerfall” to the sad, soothing sound of the final track “Parting Ways,” the sequence of this album is just right.  The first three tracks are among my favorites on the album (“Evacuation” is possibly the best, most rocking track on the album) and make me reconsider every time I want to take it out of my CD player after a full rotation.  “Light Years” slows it all down and (contrary to Rolling Stone‘s criticisms) unwinds into an excellent ballad of sorts.  The single “Nothing As It Seems” comes next, which I do like, although I couldn’t tell you why this particular track was chosen as the single when there were so many other excellent choices.

For three more tracks, the pace is heavy and slower, but these are some excellent tracks — “Thin Air” (see above for the link to the Laptop Session version), the show-stopping “Insignificance,” and “Of The Girl.”  Truth be told, the next trio of songs are the only sequence on the album that I could do without.  The energy of “Grievance” and “Rival” are undeniable — the latter won a Grammy for Best Hard Rock Performance — and “Sleight of Hand” is a nice lead-up to the final two songs on the album, but I can see why one might have seen Pearl Jam treading water with these tracks.  Then again, taking the Grammy into consideration, perhaps my opinion is simply the opposite of all paid critics.

The album ends slowly with “Parting Ways,” but the final highlight of the album — the song that first made me perk up and pay attention lyrically — is the penultimate track “Soon Forget.”  It’s just Eddie Vedder and a ukulele, but it’s so much more.  The arrangement fits the song perfectly, as Vedder sings about a man who “trades his soul for a Corvette,” “trades his love for hi-rise rent,” and is ultimately “living a day he’ll soon forget.”  As the song concludes with his funeral scene, Vedder sings, “He’s stiffening.  We’re all whistling, a man we’ll soon forget…”

Granted this is my first Pearl Jam album experience, but if the other albums are so much better, then I can’t wait to hear them!  There’s nothing wrong with this album, and it certainly doesn’t deserve the drastically reduced retail price or ho-hum reviews (Rolling Stone was so distracted that the review is largely a commentary on late 90s pop music, framed by a comparison between Matchbox Twenty and Pearl Jam).  Based on the quality of individual tracks and on the thoughtful sequencing of the album as a whole, Binaural is more than worth your time!