Mony Mony

Posted by Dave Zobrist on

  Download Instrumental    “Mony Mony” has everything a rock song should have – pounding bass, heavy beat with that double snare, and guitars on overdrive.  It’s a great song to perform for a dance crowd that wants old-style, solid rock’n’roll – as long as you don’t do it like “Tommy James and the Shondells”.  Do it like Billy Idol, please.  He turned a good rock song into a great rock classic… yes, he did.

Oh, I know, Tommy James is the original artist and we always like the original best.  Well, not this time.  James wrote this piece with three other people and it took them nearly a year to get it together.  If you listen to the lyrics, you wouldn’t think it could take more than five minutes.  Problem was, they had the music down and all the so-called lyrics except for one little thing – the name of the song.  What were they going to name the girl?  The melody needed a name with two syllables.  Rhonda maybe?  Nope – The Beach Boys had that one wrapped up.  Susie, perhaps?  No… too cute and cuddly.  How ’bout Michele?  The Beatles snagged that one.  Besides, the girl in this song isn’t French – I just know it.  Oh, my… what to do, what to do?  They just couldn’t come up with a name that was offbeat enough without being totally bizarre.  Boy, the things we humans agonize over (never end a sentence with a preposition – just sayin’).

But then inspiration struck!  Tommy and one of his songwriting partners were working on this tune in his Manhattan apartment and were still getting nowhere with the title.  Finally, disgusted, they threw down their guitars (I’ll bet they didn’t actually throw them down) and stepped out on the balcony for a smoke.  They looked up and started laughing – a huge sign on top of the building across the street read “Mutual Of New York Insurance Company”.  There it was… M-O-N-Y.  Ain’t life funny?  And now they had a hit song – but it took Billy Idol 15 years later to get it right.

Summer Breeze

Posted by Dave Zobrist on

  Download Instrumental    It is Summer, after all.  And what better song to introduce sunny beaches, hot dogs on the grill, and Spf 30 sunscreen than “Summer Breeze” by  Seals and Croft (as opposed to “Summer Wind” by Sinatra).

Jim Seals and Dash Croft were  Texas boys who played in a band called “The Champs” in the early sixties.  You might remember their instrumental hit (well, there was one word) called “Tequila”.  That group broke up in 1965 and for years Seals and Croft bounced from band to band, even playing a stint with Glen Campbell for awhile.  In ’72, the duo released “Summer Breeze”, which soared to number 6 on the charts and ranked number 13 on Rolling Stone’s “Best Summer Songs of All Time”.  Who knew there was such a list?  Number one on that list is “Dancin’ in the Streets” by Martha and the Vandellas.  Wouldn’t have picked that one myself, but supposedly it’s the ultimate invitation to get outside and boogie.  Okay.

“Summer Breeze” is much more laid-back and has an ethereal quality about it that just oozes harmony and love of life itself.  If you’re playing a beach party, this is a great tune to trot out just as the sun sets over the water.  Make this summer a fun one… chances are, you’ll only  get 85 or so of them.

Margaritaville: Country-Style

Posted by Dave Zobrist on

  Download Instrumental    To all you working musicians out there, let’s face it – when you play a tune night after night for years, you can get mighty sick of it.  Jimmy Buffett’s “Margaritaville” is one of those unfortunate songs… as is “Brown-Eyed Girl” by Van Morrison (I USED to love that one).  But your audience is unforgiving – they want to hear it just like the original artist (sigh).

That’s why I loved it when Alan Jackson came out with a country version of “Margaritaville”, even though Buffett joined him on the last verse.  Jackson got a nice hit out of it, which gave bar band musicians leeway to play it a little differently and get away with it.  Now your crowd is saying, “Oh, that’s Jackson’s version…cool!”  See?  Everybody’s happy.  We stopped doing it Buffett’s way a long time ago.  I happen to like the country styling better (still kept the marimba though).

There has been a rumor floating around for years that Elvis was supposed to record “Margaritaville”.  When Buffett first penned the tune in Key West (sitting on his front porch strumming a guitar, watching tourists bake and shrimp boil), his first idea was to give it to “The King” to record, but Elvis died before that could happen.  Don’t know if I believe that story and Jimmy’s not talking.  I can’t see Elvis complaining about stepping on a pop-top on his way home to drink a gallon of Margaritas.  Just doesn’t fit somehow.

So, if you’re still singing this song the “Buffett” way and can’t stand it anymore, use these backups and go country!  As for “Brown-Eyed Girl”, we went from performing Van Morrison’s original to using the cover by….. Jimmy Buffett.  Go figure.

The Sax Man

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  Download Instrumental     “Harlem Nocturne” is one of the more famous saxophone instrumentals of the 20th century.  It was written by American composer Earle Hagen, who was best known for writing the theme songs for television shows.  His credentials include The Dick Van Dyke Show, Mod Squad, and That Girl.  He co-wrote the theme to The Andy Griffith Show and was the guy who did the actual whistling.  You remember that one, don’t you?  I use “Andy” as the ringtone on my cell phone – that’s how old I am.

Anyway, the jazz standard “Harlem Nocturne” came about when Hagen was commissioned to write the theme music for Mickey Spillane’s Mike Hammer.  That particular TV series  starred Darren McGavin as the gritty, hard-boiled detective who fought crime when he wasn’t “chasing skirts” (Stacy Keach later played the role).  The setting was dark and brooding, which was a perfect pairing with the haunting sound of the saxophone melody introducing the show.  It’s been recorded a thousand times, but by far the best is the version by Gato Barbieri – talk about haunting!  There are also lyrics for this tune, so all you singers out there take notice.  Use these backups, mute the sax track, and go for it.

My all-time favorite rendition of this song was by a great friend of mine named Arnie Kole.  I first met Arnie in Ft. Lauderdale at a bank-opening celebration.  A talent agency needed “greeters” who looked like certain celebrities.  Arnie and I  had been hired and just happened to get on the same elevator.  It’s extremely rare for me to like anybody immediately, but Arnie was a different breed.  I could tell he was playing Gabe Kaplan (Mr. Kotter) cause the resemblance was obvious.  He asked me who I was supposed to be (not a good sign) and I said, “David Cassidy”.  He looked at me for a long moment and finally said, “Okay”.  It was just a few nights later that he walked into a Boca Raton club I was working, carrying a saxophone.  He walked up to the piano, handed me some sheet music, and asked, “Can you play this, Mr. Cassidy?” (cute).   Well, yeah… I mean you’re waving the music in my face.   Long story short, he ended up onstage and blew us all away with “Harlem Nocturne”.  From that moment on, we were comrades-in-arms.

Arnie and I got along so well because we were musicians, of course, but we also had the same philosophy of life.  You know how they say good friends laugh and cry together, sharing the good times with the bad.  Neither of us believed in the crying part.  We could laugh our way through anything and found ways to make everything fun.  Arnie and I went our separate ways several years ago, but still kept in touch.  Sadly, I heard recently that he passed away and I will never completely get over his death.  Life isn’t quite as much fun as it used to be.  I’m crying now, ol’ buddy.

Not a Fan…. Oh, Really?

Posted by Dave Zobrist on

  Download Instrumental    Never been a huge Stevie Wonder fan.  Over the years, I’ve only performed two of his songs… “Sunshine of My Life” and this one – “Isn’t She Lovely”.  I loved the intro on “Sunshine” and really liked the chord progression on “Lovely”, so I didn’t mind having to play them for singers who just HAD to do a “Wonder” tune.  I thought the rest of his stuff was just repetitive and boring.  Oh, wait… I remember doing “Superstition” many times for a cruise ship act and thoroughly enjoyed that one.  And “Boogie On, Reggae Woman” was a hoot down in Florida.  Played “I Just Called to Say I Love You” for years and loved the electric piano part.  But I don’t really care for his music.  Right…

“Isn’t She Lovely” has a great shuffle beat with just the right amount of piano to keep it interesting.  Stevie wrote it as a celebration for the birth of his daughter, Aisha, in 1975.  She can be heard crying (that’s what babies do) both at the beginning and end of the song.  That’s a little over the top, I think, but proud fathers tend to lose their minds.  We’ll forgive you for that one, Stevie.

But the lyrics!  Sappy and sophomoric, but who cares?  Actually, I played this one for years and thought it was about a hot romance.  I don’t pay any attention to lyrics – it’s all about the music and remembering chords to me.  All I heard was “Isn’t she lovely/isn’t she wonderful” – definitely a love song.  The next two lines “Isn’t she precious/less than one minute old” should have been clue.  But I never heard that part of the song.  Clueless!  Sometimes I can be annoyingly imperceptive.  Part of my charm…

Stormy Monday

Posted by Dave Zobrist on

  Download Instrumental    The first time I met Greg Allman, I didn’t like him. The second time, I liked him even less.  We were young and stupid and judgmental, true, but I knew arrogance when I saw it.  And he kept tossing his hair like a girl – very distracting.  But when he sat behind that Hammond B3 and began to sing in that bluesy, gravely voice, it didn’t matter what I thought personally.  He was a genius and a trailblazer in Southern rock music.  We’re all going to miss him.  He died of liver cancer two days ago… a sad day indeed.

“Stormy Monday” was written by blues guitar great T-Bone Walker, but it was the Allman Brothers version that brought it to the attention of white, rock’n’roll audiences.  Greg and his brother Duane started playing this tune in an early group they formed called “The Allman Joys” (cute).  They later included it in all their performances and recorded it live in 1971.  Their arrangement was long and considerably different than T-Bone’s,  but the blues rifts by guitarist Dickey Betts were just incredible.  Greg Allman was one of those rare singers that didn’t mind showing off the musicianship of the band.

I wrote this arrangement primarily for blues guitarists that were working solo – and there’s a lot of them out there.  Even though they don’t use the guitar track, I just had to include a guitar solo in this version (not the easiest thing to do on a keyboard).  It suffers greatly, but you get the idea.  And I can’t begin to replicate Greg Allman’s double-timed organ solo toward the end, but (again) you get the idea.  The man was a master with a Hammond B3 and I was always kinda jealous of that.  Could be that’s why I didn’t like him.  But respect him?  Oh, yeah…

How Sweet It Is

Posted by Dave Zobrist on

  Download Instrumental   Jackie Gleason (surely you remember him) used the phrase “how sweet it is” on his show in reaction to almost anything.  Gleason was one of television’s most popular stars in the 60’s, and one of its biggest fans was none other than Marvin Gaye.  Go figure.  Marvin picked up “how sweet it is” and used it constantly in his everyday conversations – so much so, in fact, that it caught the attention of a couple Motown songwriters.  They wrote the song in two days and soon had a hot hit on their hands, even though it was unusual for Gaye to do such a straightforward love song.  Thank you, Jackie Gleason.

We always opened our first set with this tune – using the James Taylor arrangement recorded in 1975.  You always want to start with a song that won’t offend anybody and won’t send half of your audience scampering for the door.  People decide whether they like your music or not by the first six notes you play, so you have to be careful not to alienate anyone – at least not right away – there’s time for that later on.  This one should definitely be in your repertoire.  It’s easy to sing, fun to play, and… safe.

Enough Talk Already!

Posted by Dave Zobrist on

  Download Instrumental   Elvis wasn’t known for complicated or raucous arrangements.  This one, however, is quite the exception to the rule.  I’ve used 5 different guitar tracks, drums, bass, two brass tracks, a lead vocal track (sax),  backup vocals, and one dedicated just for sound effects.  Whew!  “A Little Less Conversation” was a challenge.  For you singers out there without a band,  these backups should get the point across (Elvis was feelin’ a little frisky that day).

Mac Davis wrote this one in 1968 with Aretha Franklin in mind, and I can certainly envision the “Queen of Soul” belting this out like a banshee.  But Davis was asked to contribute a song for the Elvis movie Live a Little, Love a Little,  so “Little Less Conversation” went to the King rather than the Queen.  Elvis apparently decided to just have some fun with it – hence the crazy but likable arrangement.

One of my favorite old television shows is Las Vegas (2003 – 2008, maybe not so old), starring James Caan as the operations manager of a Vegas casino.  This was the theme song for the show and the first time I ever heard it.  Another cute fact –  Mitt Romney used it as his campaign song in 2008.  It was supposed to emphasize his promise to bring change to a broken Washington.  Right… we won’t even go there.

 

Tell It Like It Is

Posted by Dave Zobrist on

  Download Instrumental   There’s a certain vocal styling I just hate.  I call it the “Aaron Neville Slide”.  Neville started this foolishness in 1966 with this song – “Tell It Like It Is”.  You know what I’m talking about.  The singer ends a phrase and then slips and slides all over the final note until you don’t even know what the note was.  Drives me crazy.  That style ended after a few years, but then Whitney Houston brought it back with a vengeance and it never went away.  Just listen to someone sing the National Anthem.  They can’t help themselves.  Drives me crazy (I already said that, I know).

They call them “vocal runs”.  I call them “irritating beyond belief”.  Just stop it!  It’s not necessary!  End the phrase with a nice strong note that speaks for itself (a little vibrato would be nice).  I love this song – but NOT the Aaron Neville original.  I stumbled across a version by Don Johnson (yes, the Miami Vice guy – who knew?) and he doesn’t do all the vocal theatrics that have become so ridiculously popular.  He sings it straight and pure – the way any song should be done.

I used Johnson’s version as a guide and came close – with no real cigar.  I liked his arrangement mostly because of the sexy saxophone licks (that was fun to do).  I did, however, leave plenty of room at the end for all you singers who just insist on doing the “Aaron Neville Slide”.  But, please… just don’t.

 

Too Cute

Posted by Dave Zobrist on

  Download Instrumental   This song is cute. Yes, cute. “I’m gonna sit right down and write myself a letter/and make believe it came from you”. That’s cute… and clever. Why would you write a letter to yourself?  Maybe it’s some kind of self improvement thing.  Next line: “I’m gonna write words oh so sweet/they’re gonna knock me off my feet”.  Okay – so you’re a good writer.  Then it’s “Kisses on the bottom/I’ll be glad I got ’em”.  Now we’re borderline delusional, but who cares?

This tune – cute or not – was recorded by Fats Waller in 1935 when he was at the pinnacle of his career.  It has since been done by everybody on the planet, including Frank Sinatra, Billy Williams, Bing Crosby, Willie Nelson, Dean Martin, Anne Murray, Nat King Cole – well, you get the picture.  Everyone loves this song.  We always did it Sinatra style – until I heard Paul McCartney’s version from his 2012 album “Kisses On the Bottom”.  I immediately redid our arrangement to something close to what McCartney did (always imitate the best – see his video below, strange as it is).  Paul gets just a little bit jazzy and I included a flute solo in mine just cause I like flute.  Try it on your next music job – simple and sweet.  And it’s just too freakin’ CUTE!