"LET'S STAY TOGETHER" AL GREEN (1972)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Many of the greatest movies of all time often have great music attached to them. But great music from the opening credits to the end credits, well, that’s a rare commodity. Pulp Fiction carries the noteworthy distinction of being one of the great films as well as one of the great soundtracks of all time. You can’t pick just one song, every single one of them is exceptional. “Let’s Stay Together” is probably one of four marquee tracks on the album, along with “Jungle Boogie”, “Son of a Preacher Man” and “Bustin Surfboards”.

What makes the Al Green song so special? I think it’s this. There are few songs in the history of music that capture the essence of their era so well while also demonstrating a timeless staying power. “Let’s Stay Together” is one of them. It is unapologetically 70’s to the bone. Like a time capsule of the era. But this classic has also aged beautifully. Pulp Fiction proved it. The horn section beckons us in the intro, but from there it’s all Al. It’s a gift to the world. Without exaggeration, one of music’s greatest vocal performances with Green’s natural vocal range and falsetto maneuvers so naturally entwined.

“WHATEVER YOU WANT TO DO IS ALRIGHT WITH ME.”

"WHAT I'D SAY, PT. 1 & 2" RAY CHARLES (1959)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1959

For as long as music has been around, jam sessions have been around, too. That thing that brings musicians together – their love for music – and an openness to whatever may come of it. There’s a thrill in that. The night will be fun regardless. But on some occasions, the night can go down in history. Like the night this song was born. “What I’d Say” was a song born out of a late night improv jam session.

Ray Charles and his band finished their set and just kept on playing. And when they kept playing, “What I’d Say” is what came out, right there out on the stage. Over the course of eight minutes, “What I’d Say” defined soul music, won the adoration of music fans and managed to piss off quite a few as well. It combined electric piano with real piano and it turned the high hat into a central percussion element.

“WHEN YOU SEE ME IN MISERY, COME ON BABY, SEE ABOUT ME.”

"NOTHING CAN CHANGE THIS LOVE" SAM COOKE (1963)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1963

It’s time to pay homage to a legend. The king of soul. The man whose voice and music influenced Aretha Franklin, Al Green, Curtis Mayfield, Stevie Wonder, Marvin Gaye, Otis Redding and so many others. Play a single note from any one of his songs and his voice is instantly recognizable. In 1963, he released two albums – Mr. Soul and Night Beat. The latter is considered to be the stronger of the two, but I love the track “Nothing Can Change This Love” from Mr. Soul.

This was the one song from Mr. Soul that Cooke wrote – and it’s one of the best from the bunch. I can listen to it a hundred times in a row – and never grow tired marveling at Cooke’s effortlessly sublime vocals. His voice is as smooth as molasses, but it’s also his delivery that is worth taking note of. It’s his timing that allows Cooke to create a sense of gravitas in every line. It’s why something so simple sounds so exceptional.

“If I go a million miles away I'd write a letter each and every day. 'Cause honey nothing, nothing Can ever change this love I have for you.”

"I USED TO LOVE HIM" LAURYN HILL FEAT. MARY J. BLIGE (1998)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1998

Lauryn Hill has one studio album to her credit, but it’s one for the ages. A hugely ambitious effort, The Miseducation of Lauryn Hill was a concept album and a personal memoir. It rewrote the rules and redefined genres like soul and hip hop. It had that rare quality of making your whole being move. Not just your body, but your mind and soul. There were enough songs to get two albums out of it. And one song deserves more credit than it gets. The second half kicks off with one of the greatest, most glorious breakup songs ever: “I Used to Love Him”.

The doo-wop influences are all over Miseducation, and especially apparent in the opening harmony on “I Used to Love Him”. It’s one of the most memorable and iconic musical moments on the album. But the highlight is the dual rant from Hill and Mary J. Blige. The breakups described in the lyrics weren’t debilitating, they were liberating. The more I listen to “I Used to Love Him” the more I come to a beautiful realization. That the song is less about breakups and more about reclaiming your identity.

“I CHOSE THE ROAD OF PASSION AND PAIN. SACRIFICED TOO MUCH. AND WAITED IN VAIN. GAVE UP MY POWER. CEASED BEING QUEEN.”

"SOUL FINGER" THE BAR-KAYS (1967)

This month, I’m looking back at movies and tv shows to rediscover songs that graced the screen. The scenes and the music are inseparable. They’re engrained in our heads and our hearts. And they’re proof that the best music we have doesn’t exist in isolation. It attaches itself to a moment or an experience. #SceneSongs

Movie: Spies Like Us

If you’re an 80’s child, chances are you can’t think of Soviet missile control personnel parties without remembering this song. Spies Like Us’ unforgettable scene went back a couple of decades to uncover this instrumental soul fest from the late 60s. The movie itself featured some of the decade’s best comedians on the silver screen: Chevy Chase and Dan Aykroyd. “Doctor, doctor, doctor, doctor.” The campiness of the acting, the film sets and the movie at large certainly extended its way into the soundtrack, which is most known for “Soul Finger”.

Overly simple and repetitious, “Soul Finger” checks two boxes for likability. First, it’s infectious. The kind of song you can’t get out of your head even if you tried. Second, it’s nostalgic, whether you grew up in the 60’s or in the 80’s. The electric guitar has its moment, but the soul of the song is the trumpet and saxophone. The two instruments are thoroughly irritating and whiny throughout the song, yet strangely irresistible. The band doubles down on the brass in later renditions, adding a trombone. The song is about as ludicrous as having a dance party at a missile control site, which makes it a perfect accompaniment for the iconic Spies Like Us scene.

"WHAT'S GOING ON" MARVIN GAYE (1971)

I generally gravitate to the music first before the lyrics. But as a writer, I still marvel at well-spun verses and choruses. This month, I’m joining the music Twitter community in #SeptSongLyricChallenge

Day 25

It goes down in history not just as one of the greatest protest songs of all time, but one of the greatest, period. It prompts many of the same problems, questions and emotions that we continue to struggle through today. Police brutality. Racism. War. These things haven’t left us. Gaye was calling our attention to themes that continue to surface – and the song gave us permission to ask the hard questions. The rare strength of “What’s Going On” is its unique ability to be timely and timeless at the same time.

“Father, father. We don't need to escalate. You see, war is not the answer. For only love can conquer hate. You know we've got to find a way to bring some lovin' here today.”

"SIR DUKE" STEVIE WONDER (1976)

I generally gravitate to the music first before the lyrics. But as a writer, I still marvel at well-spun verses and choruses. This month, I’m joining the music Twitter community in #SeptSongLyricChallenge

Day 3
Hands down, “Sir Duke” is one of the most memorable musical tributes. Basie. Glenn Miller. Louis Armstrong. Ella. And, of course, Duke Ellington. Few songs celebrate music so admirably and unpretentiously. It’s pure love for the music. Pure love for the sounds that have shaped us. In many ways, it’s the same thing that drove me to start Mental Jukebox. This “hobby” of mine represents the collision of two loves of mine: music and words. Seemed like Stevie was doing the same thing in this classic.

“Music knows it is and always will be one of the things that life just won't quit. But here are some of music's pioneers that time will not allow us to forget. For there's Basie, Miller, Satchmo and the king of all: Sir Duke. And with a voice like Ella's ringing out, there's no way the band can lose.”

"SOUL FINGER" THE BAR-KAYS (1967)

After spending an entire month looking back at the 80’s, I realized one thing. I need more. Luckily, a couple of fellow music fans on Twitter came up with the brilliant idea to highlight #30DaysOf80sMovieSongs during the month of April. I couldn’t resist at the opportunity to keep going, to keep listening, and to keep celebrating the decade that has meant more to me than any other from a musical standpoint. Each day I’m playing a different soundtrack favorite on the Mental Jukebox.

Movie: Spies Like Us

If you’re an 80’s child, chances are you can’t think of Soviet missile control personnel parties without remembering this song. Spies Like Us’ unforgettable scene went back a couple of decades to uncover this instrumental soul fest from the late 60s. The movie itself featured some of the decade’s best comedians on the silver screen: Chevy Chase and Dan Aykroyd. “Doctor, doctor, doctor, doctor.” The campiness of the acting, the film sets and the movie at large certainly extended its way into the soundtrack, which is most known for “Soul Finger”.

Overly simple and repetitious, “Soul Finger” checks two boxes for likability. First, it’s infectious. The kind of song you can’t get out of your head even if you tried. Second, it’s nostalgic, whether you grew up in the 60’s or in the 80’s. The electric guitar has its moment, but the soul of the song is the trumpet and saxophone. The two instruments are thoroughly irritating and whiny throughout the song, yet strangely irresistible. The band doubles down on the brass in later renditions, adding a trombone. The song is about as ludicrous as having a dance party at a missile control site, which makes it a perfect accompaniment for the iconic Spies Like Us scene.

"LET'S STAY TOGETHER" AL GREEN (1972)

The decade in which I was born has given me a strange perspective on its music. I discovered pretty much all of the 70’s sounds – from prog rock to punk to disco – well after they came into the world. It wasn’t until the late 80’s that I discovered what I was missing. I would characterize the decade as one where budding genres leaped off their inspiration pads and came to fruition. For the month of February, Mental Jukebox will feature some of these gems with a different 70’s song each day. #28DaysOf70sSongs

Many of the greatest movies of all time often have great music attached to them. But great music from the opening credits to the end credits, well, that’s a rare commodity. Pulp Fiction carries the noteworthy distinction of being one of the great films as well as one of the great soundtracks of all time. You can’t pick just one song, every single one of them is exceptional. “Let’s Stay Together” is probably one of four marquee tracks on the album, along with “Jungle Boogie”, “Son of a Preacher Man” and “Bustin Surfboards”.

What makes the Al Green song so special? I think it’s this. There are few songs in the history of music that capture the essence of their era so well while also demonstrating a timeless staying power. “Let’s Stay Together” is one of them. It is unapologetically 70’s to the bone. Like a time capsule of the era. But this classic has also aged beautifully. Pulp Fiction proved it. The horn section beckons us in the intro, but from there it’s all Al. It’s a gift to the world. Without exaggeration, one of music’s greatest vocal performances with Green’s natural vocal range and falsetto maneuvers so naturally entwined.

“Whatever you want to do is alright with me.”

"A CHANGE IS GONNA COME" OTIS REDDING (1965)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Otis Blue is considered by many to be one of the greatest albums ever recorded. A deep exploration of Redding’s bluesy, soulful demeanor, he sang some of his originals (including “Respect” before Aretha Franklin made it a household tune) as well as iconic standards like “Satisfaction”, “Rock Me Baby”, “My Girl” and “Down in the Valley”. There are also a handful of songs from fellow blues legend Sam Cooke who died a few months before the album was released. One of those Cooke treasures is the beautiful blues ballad “A Change is Gonna Come”.

The recording itself is quite a monumental listen. Redding holds nothing back, singing with conviction driven likely by his ability to relate to Cooke’s story, which is the most powerful aspect of the song. “A Change Is Gonna Come” isn’t just a catchy song. It’s a statement and a rant on the sad state of where things were back then in terms of racial equality. What makes the song even more meaningful is that the change hasn’t fully arrived yet. The emotions are still raw and very real more than 50 years later.

“There been times that I thought I couldn't last for long. But now I think I'm able to carry on. It's been a long, a long time coming. But I know a change gonna come, oh yes it will.”

"WHERE DID OUR LOVE GO" THE SUPREMES (1964)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

One of the more interesting and controversial dynamics in music history is the pre-determination of which songs will make it and which ones won’t. Throughout history, artists have reluctantly released certain songs, the thinking being that they simply didn’t measure up. In fact, several classics almost didn’t get recorded. Springsteen’s “Born to Run”, Marvin Gaye’s “What’s Going On”, the Stones’. “(I Can’t Get No) Satisfaction”, and Wilco’s entire Yankee Hotel Foxtrot album all fit that bill. So does a monster pop-soul hit called “Where Did Our Love Go” by The Supremes.

As the story goes, when songwriter Brian Holland shared it at first, the girl group was disappointed. They wanted something more upbeat and catchier. They didn’t believe it could be a hit. But they also felt they didn’t have a choice. So, reluctantly they recorded the song with Diana Ross on lead vocals. But once they got the song down pat in the studio they knew they had something special. We know how the story ends. “Where Did Our Love Go” climbed to #1 on the Billboard charts – and the song and its unforgettable lyrics are universally known and loved. I still remember seeing commercials on TV for 60’s soul pop CD. compilations – my first glimpse into this wonderful classic. Ross sings like an angel and the baritone sax solo roars like a lion.

“I've got this burning, burning yearning feelin' inside me.”

"MY CHERIE AMOUR" STEVIE WONDER (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Every now and then, I think about the question: what makes great music great? There are probably a few different ways to answer that question, and they’re all equally valid responses. First and foremost, great music has to move you. Second, great music inspires us to do great things, everything from recording the next great soul album to being a great dad. Lastly, I think great music lasts for generations. The music of Stevie Wonder hits on all three of these descriptions across. several decades. My favorite Wonder albums are Innervisions and Songs in the Key of Life. But the 60’s title track from “My Cherie Amour” is absolutely irresistible.

On “My Cherie Amour”, it all comes together. We hear the best of Stevie Wonder’s abilities as a songwriter, arranger, performer and producer. The opening to the song is composed with orchestrated elements, but quickly slips into an easy listening vibe that uses string arrangements with soul and R&B tendencies. No one else was doing this at the time. As a song about an old lover, the ease in which “My Cherie Amour” melds various genres so naturally and smoothly is a marvel. I think it’s why it’s taken on a life of its own for so many decades. There’s something about “My Cherie Amour” that appeals to each of us.

“Maybe someday, you'll see my face among the crowd. Maybe someday, I'll share your little distant cloud.”

"EVERYTHING IS EVERYTHING" LAURYN HILL (1998)

Each day in November, I’m revisiting a song from the 90’s — a decade that was a sorta coming of age for me. In that span, I experienced high school, college and my time as a young single guy in New York City. It was a decade of ups and downs, and the music never stopped playing during that span. It was always there with me. #30DaysOf90sSongs

I was never a big fan of hip hop, mainly because I find original instrumentation to be much more satisfying than sample dropping and beats. That said, The Miseducation of Lauryn Hill is probably one of my all-time favorite albums. As a concept album, it told a larger story that I could practically visualize in my head. This made the album much more appealing aside from having just individual standout tracks. Scenes of an inner city classroom danced in my head as one song blended into another. There isn’t a weak track on the album, but my favorite, by far, is “Everything is Everything”.

It’s hard to think of another song based on two chords that’s as gripping as this one. Those two simple chords formed an irresistible, unforgettable hook, forged by John Legend on piano and the Indigo Quartet on strings. It’s the heartbeat of the song, But what made “Everything is Everything” even more unique was the vocal performance. Lauryn Hill criss-crossed genres so seamlessly, going from R&B to hip hop to soul. Perhaps this is what makes The Miseducation of Lauryn Hill so appealing. It’s not simply a hip hop record, it’s so much more.

“I wrote these words for everyone who struggles in their youth, who won't accept deception, instead of what is truth.”

"JOHNNY COME HOME" FINE YOUNG CANNIBALS (1985)

For the month of October, I’m selecting a song each day from the decade that has the most meaning to me: the 80s. It was the decade that I grew up in. The period of time where I discovered my love for music — and explored many different genres. For the next 31 days, I’ll highlight a handful of songs that I truly loved and that were representative of the decade. #31DaysOf80sSongs

When Fine Young Cannibals first came onto the scene, they had a short, glorious underground era. It was the days before Top 40 stardom, late night show appearances and platinum sales. Two songs really helped drive this vibrant, creative period: “Johnny Come Home” and “Suspicious Minds”. The latter was a modern rockabilly interpretation of the Elvis classic. It was an FYC twist. But “Johnny Come Home” was FYC at its core. When you dissect the recording, it becomes clear that this is the quintessential FYC track, not “She Drives Me Crazy” or anything else.

Most bands create their identity based on the melody and riffs of their songs. But FYC’s identity hinged on other factors. “Johnny Come Home” is a song whose verses barely resemble a melody of any sort. It’s a song that showcases the highly unusual and unique voice of Roland Gift. Its identity is largely based on its infectious rhythms. And it’s elevated with the most unusual of instruments for a modern rock track: the trumpet. When you put it all together, we have ourselves the unique FYC formula. All the elements that made them so addictive, so unusual and, ultimately, so successful.

“Nobody knows the trouble you feel. Nobody cares, the feeling is real.”

"LIVING FOR THE CITY" STEVIE WONDER (1973)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

I can’t think of another music artist in all of history that intermingled different genres better than Stevie Wonder. The thing that often occurs when artists attempt to fuse disparate styles is a sense of disjointedness. But that’s never been the case with Stevie’s music. All of his multi-genre compositions are highlighted by a sense of cohesion and unity. I love the Innervisions album because this was the recording where Stevie’s crossover tendencies were at their height. And “Living For the City” is my favorite example.

It starts with funk. Then it slides into R&B with a side of soul and a sprinkle of rock. As if that wasn’t ambitious enough, “Living For the City” then slips into a momentary jazz exploration before getting back into its funk grooves. Just before the song ends, Stevie crosses over one more time with a gospel choir-inspired harmony. While “Living For the City” chronicled the story of a Mississippi boy’s journey to New York City, the musical styles cleverly reflect back the city’s rich and diverse soundscape.

“This place is cruel, nowhere could be much colder. If we don't change, the world will soon be over. Living just enough, stop giving just enough for the city.”

"WE CAN WORK IT OUT" STEVIE WONDER (1970)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

By 1970, Wonder was already ten studio albums in. Signed, Sealed and Delivered had a mix of originals and covers, demonstrating Stevie Wonder’s versatility as a co-writer and an arranger. Few artists have demonstrated the level of craft in arranging other people’s songs that he has achieved for more than half of a century. In his cover of The Beatles’ “We Can Work it Out” I’m reminded that aside from the melody and the lyrics, Stevie always saw everything else as fair game.

Deconstructing this cover, it’s easy to understand why this is considered a masterpiece in its own right. It’s not just another version. Stevie reimagined the song from the get go, inserting a soulful, driving guitar riff for the first 8 seconds. It’s a far better intro than the original. But the best thing about the recording is the complexity of the arrangement, using horns, backing vocals and more three part harmonies to add vigor and life to this Beatles classic.

“Try to see things my way. Do I have to keep on talking till I can't go on while you see it your way. Run the risk of knowing that our love may soon be gone.”

"FOR ONCE IN MY LIFE" STEVIE WONDER (1968)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Songwriting virtuoso. Crossover pioneer. One of the most talented musical arrangers of all time. It’s impossible to overhype the wonder of Stevie Wonder because few have made greatness look so easy. The genius of “For Once in My Life” may not be immediately noticeable, but there are several qualities that have made it a timeless and epic musical arrangement.

The fact that it has become a staple at wedding receptions for more than 50 years is first and foremost attributed to Stevie’s uptempo reimagination of a ballad. He transformed the song from a sleepy, romantic ode to a song that you can cut loose to on the dance floor — whether you’re an 8 year old or 80 years old. It effortlessly blends orchestral elements on a bed of R&B. And then there’s the bass playing. James Jamerson is considered by many to be the most influential bassist of all time. Hearing his approach to “For Once in My Life”, it’s not hard to see why. The entire line is improvised while complementing the melody from beginning to end like a true musical soul mate.

“For once I can say, "This is mine, you can't take it".
As long as I know I have love, I can make it.”

"LET'S STAY TOGETHER" AL GREEN (1972)

Exceptional soundtracks can make good movies great. They can also take on a life of their own, becoming a greater highlight than their respective films. In this series, I’m selecting some of my favorite soundtrack songs. While quite a few are well-known recordings, I’m also including a few that have flown under the radar over the years.

Pulp Fiction has the rare distinction of being one of the greatest films of all time as well as one of the greatest soundtracks of all time. You can’t pick just one song, but “Let’s Stay Together” is probably one of four marquee tracks on the album, along with “Jungle Boogie”, “Son of a Preacher Man” and “Bustin Surfboards”.

What makes the Al Green song so special? I think it’s this. There are few songs in the history of music that capture the essence of their era so well while also demonstrating a timeless staying power. “Let’s Stay Together” is one of them. It features one of music’s greatest vocal performances with Green’s natural vocal range and falsetto maneuvers so naturally entwined.

“Whatever you want to do is alright with me.”

"SON OF A PREACHER MAN" ARETHA FRANKLIN (1970)

For Women’s History Month, I’m selecting some of my favorite songs from some of the most talented and influential women in music. From frontwomen to singer-songwriters to iconic performers, I’m picking one song a day on Mental Jukebox until the end of March.

Let’s kick things off with Aretha. The queen of soul gave us literally hundreds of memorable recordings, and her rendition of “Son of a Preacher Man” is one of my favorites. She didn’t write it, but it was written with her in mind. “Preacher Man” played perfectly to her vocal range and soulful swagger. Not to take anything away from Dusty Springfield’s version, but Aretha sung it like she lived it.

“Being good isn't always easy, no matter how hard I try.”

"WHAT I'D SAY, PT. 1 & 2" RAY CHARLES (1959)

This was a song born out of a late night improv jam session. Ray Charles and his band finished their set and just kept on playing. And when they kept playing, “What' I’d Say” is what came out, right there out on the stage. Over the course of eight minutes, “What I’d Say” defined soul music, won the adoration of music fans and managed to piss off quite a few as well. It combined electric piano with real piano and it turned the high hat into a central percussion element.

“When you see me in misery, come on baby, see about me.”