Tag Archives: acoustic guitar music

“Bastard” (Ben Folds Cover)

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By Chris Moore:

Tonight’s session, Ben Folds’ “Bastard,” is the opening track to one of the most memorable albums in my collection. Songs For Silverman was released in 2005, a few years after I had really gotten into listening to albums. When I say “gotten into,” I mean that albums quickly became one of the few subjects that truly captured my attention and imagination as a high school senior. As I got into college, I quickly found a slew of new albums that I thought were incredible, ranging from the classics like Bob Dylan’s Blonde on Blonde to new music from Paul McCartney and the Wallflowers. I will always look back at that period of my life and fondly recall how new it all felt.

By 2005, I unwittingly began to fall into the traps that I had scoffed others for, specifically those like the Dylan fans who booed him when he went electric. Was it different? Yes. But, was it amazing music? Absolutely! I couldn’t fathom how close-minded people could be to new music. Unfortunately, two albums that I disliked upon their release — the Wallflowers’ Rebel, Sweetheart and the aforementioned Ben Folds’ Songs For Silverman — I later went on to greatly respect. I had to ask myself, why didn’t I initially fall in love with them?

The answer to this question lies in expectations. I expected Songs For Silverman to be as dynamic a record as Rockin’ The Suburbs, his previous and debut solo release. I expected him to play all the instruments and sing all the harmonies. When I listened to the album, there was a consistent sound throughout each of the tracks. He used a bass player and a drummer to augment his piano. It simply wasn’t what I expected. And to top it off, magazines like Rolling Stone were praising it for being more mature and overall better than Rockin’ The Suburbs, an album that I absolutely loved.

It is for this reason that Songs for Silverman holds a special place on my CD rack — it is an album that I didn’t give a fair chance. Ever since this realization, I have tried to approach each new album for what it is — a new album. It may not be the same or even as good as previous work, but if I give it a chance, I might enjoy it or even find it to be better! I know how much Jim Fusco and my sister, Jaime, love the songs on this album — Jaime didn’t take this CD out of her car for weeks after its release — and I’m glad I finally came around.

Well, I hope this makes up for my lack of post on my “7 8 9” video three days ago; I was just so tired that I couldn’t think straight. And I felt that video spoke for itself; it was amazingly fun to record. With Jim there to add acoustic flairs and background vocals, we knocked it out in a couple takes. We would have recorded some more from our long duet list — about ten or fifteen at this point — but hunger (and the need for ant traps) set in…

I hope you enjoy “Bastard.” You’ll get to hear my embarrassing and mercifully rare falsetto. You’ll get to hear me flub a couple of words noticeable only to the Ben Folds fanatic. You’ll get to see me (most likely) create enemies because I’ve broken Ben Folds’ general no-guitars policy and recorded an acoustic cover song of this song.

See you next session!

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“Happy Tears” (Original Wednesday Song by Songwriter Jim Fusco)

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By Jim Fusco:

Tonight, it’s another Original Wednesday for me, Jim Fusco, where I play an original song from my now vast collection of well over 150. I’m excited about tonight’s, as it’s been one of my favorites since I wrote it back in 2002 or 2003. The original recorded version of this song is rich with about ten of my voices singing in harmony. I even made a surround-sound version of this song with a music video.

Everybody tells me that this is most “Beach Boys” sounding song I’ve written. And to tell you the truth, as with all of my songs, I didn’t write it with a specific style in mind. I never sit down and go, “Okay, Jim, time to write a Beach Boys song.” But, even I’ll admit that this is a Beach Boys-sounding song, especially with that interesting strumming pattern. It’s tough to play that and sing with it at the same time, but I’ve been playing this song for so long that I don’t even think about it anymore. This video was Take 1.

I wrote this song after my then-girlfriend (and now fiancee) Becky said the phrase “Happy Tears” and I found it so interesting that I put those words to this great tune that popped into my head one day. I think we were going through a time in our relationship where you’re thinking, “Man, I do NOT want to mess this up.” There’s always going to be issues to iron-out, and when you finally do, it’s almost hard to believe that everything worked out. But, looking back five years ago, it almost seems obvious that it would all work out.

Enjoy tonight’s Laptop Session!

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“That’s Not Me” (The Beach Boys Cover)

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By Jim Fusco:

“That’s Not Me” is track three of the pivotal album, “Pet Sounds” from 1966. My family got into the Beach Boys back in 1990 or 1991 because of this album. Of course, we listened to the greatest hits, but we were more interested in this well-crafted, deeper music that “Pet Sounds” brought to the table. Seventeen years later, “Pet Sounds” doesn’t stand as my favorite Beach Boys album- that title goes to a couple of others, including “Holland”, “Sunflower”, and “The Beach Boys (1985)”. But, I still love every single track off of “Pet Sounds”. One of the reasons I like those other albums better is because of the contributions from the other band members. On “Pet Sounds”, it’s really a Brian Wilson solo album, featuring Mike Love, Al Jardine, Bruce Johnston, Carl Wilson, and Dennis Wilson on backing vocals.

But, then you get songs like “God Only Knows” that clearly benefited from Carl’s lead vocals and “That’s Not Me”, which benefited from Mike Love’s great lyrics and singing. This song is a great one to play on acoustic guitar and do a cover of because I didn’t have that feeling of stripping too much away from the song. This is a very personal-sounding song and I think it works great as an intimate cover music video. Of course, I plan on doing pretty much every song from “Pet Sounds”, but I arrived at this choice now because it’s the track that still hung on to that Brian Wilson/Mike Love writing tandem that put them on top in the early 60s.

I hope you enjoy tonight’s Laptop Session acoustic cover song and I hope you’ll come back to see another great cover music video from Chris Moore!

NOTE: This video was remastered in 2020 for improved video and sound.

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CD Review: Tegan and Sara’s “So Jealous”

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RATING:  3 / 5 stars

By Chris Moore:

So Jealous brings to mind the definition of a three star album.

If one star indicates one’s ability to record an album and five stars suggests one’s talent for producing superior, impressive music, then three stars is a rating for a good album. In this case, Tegan and Sara have found a unique sound for themselves and embraced it. It is a good album that I have enjoyed—I am arguably biased in their favor, as my first two listenings took place on a two and a half mile stretch of I-91 during a major traffic jam; they saved me from utter boredom and frustration.

Yes, it is a good album. Does it demonstrate the musical genius of Brian Wilson? Does it compete for poetic excellence with the Wallflowers? Does it draw you in entirely, body and soul, as Jack Johnson’s new album can? The answer to these questions is an honest “no.”

This being said, I have learned that one cannot expect miracles out of every album ever made.

Tegan and Sara’s greatest strength lies in their ability to combine acoustic and electric elements. The first track demonstrates their very catchy sound as it builds from an acoustic song to an all-out electrified jam. And they sound good together. The combination of their voices is a blend that is pleasing to the ear.

For the most part, the songs are successful—memorable, even. This is not an album with one or two good songs and the remainder a void of throwaways. After all, how can one resist their cries for the subject of one song to “take me anywhere”? Or ignore their quiet, though authoritative pleas for another not to “get so uptight,” then to “Go away!”?

They have chosen to incorporate basic harmonies, which is a good choice for their vocal blend. Even their slower songs have a backbeat that drives them simply—as is the case with their vocals—yet effectively.

The most significant factor in my mediocre rating of this album lies in their one notable flaw—repetition. On several tracks, they tend to take the same chorus, albeit a well-written, catchy chorus, and repeat it too many times. Ending some songs earlier or expanding the lyrics would have significantly improved the flow of the album.

I truly believe that they have it in them to write better songs. Actually, I should say they have it in them to better the songs they have already written. “You Wouldn’t Like Me,” “I Bet It Stung,” “I Won’t Be Left,” “Walking With A Ghost,” and “Fix You Up” are strong tracks and very good songs. They are performed in a heartfelt manner by two talented young songwriters who are perhaps a couple of the world’s last, best hopes for successful women artists in the music industry. They write their own songs, play their own instruments, are entirely clothed in all their pictures, and criticisms aside, have produced a thoroughly enjoyable album.

7/2005

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