SOMETHING OLD
Tanya Tucker - San Antonio Stroll
1975
In 1972, Nashville producer Billy Sherrill heard Bette Midler perform a new song called Delta Dawn on The Tonight Show Starring Johnny Carson. He loved it and immediately sought to sign Midler and have her record it in the studio, but found out she was already signed. Giving up on his dream for the 27-year old Midler, Sherrill looked toward Columbia's roster of newly signed artists and landed on the 13-year old Tanya Tucker. Unlike the original, Sherrill decided that the recording should open with the chorus sung a cappella, immediately presenting the young girl's strikingly mature and raspy timbre as not just another country voice, but as an instrument worth being heard in isolation. The song was a huge hit, and Columbia Records tried to stay quiet about her age, but the leaked news only made her and the song more beloved.
Tucker has credited Sherrill's support and production for her success, stating she "probably would have been a rodeo queen or something" without him. But three years later, now 16 years old, it was time to renegotiate her Columbia contract. Her father was confident in her budding stardom and demanded a million and a half dollars, which the label said was way out of bounds. Steadfast, he walked out and crossed the street to MCA Records, and upped his demand by a million. With a handshake, the deal was done, and Tucker was set to record her first album on the new label.
Tanya Tucker - San Antonio Stroll
1975
In 1972, Nashville producer Billy Sherrill heard Bette Midler perform a new song called Delta Dawn on The Tonight Show Starring Johnny Carson. He loved it and immediately sought to sign Midler and have her record it in the studio, but found out she was already signed. Giving up on his dream for the 27-year old Midler, Sherrill looked toward Columbia's roster of newly signed artists and landed on the 13-year old Tanya Tucker. Unlike the original, Sherrill decided that the recording should open with the chorus sung a cappella, immediately presenting the young girl's strikingly mature and raspy timbre as not just another country voice, but as an instrument worth being heard in isolation. The song was a huge hit, and Columbia Records tried to stay quiet about her age, but the leaked news only made her and the song more beloved.
Tucker has credited Sherrill's support and production for her success, stating she "probably would have been a rodeo queen or something" without him. But three years later, now 16 years old, it was time to renegotiate her Columbia contract. Her father was confident in her budding stardom and demanded a million and a half dollars, which the label said was way out of bounds. Steadfast, he walked out and crossed the street to MCA Records, and upped his demand by a million. With a handshake, the deal was done, and Tucker was set to record her first album on the new label.
The second single in anticipation of the teenager's latest record was San Antonio Stroll, written by Peter Noah. Her voice had grown even more impressive by now, with remarkable control and tone, and blended flawlessly with gorgeous mandolin & fiddle. The song tells the story of a young girl in South Carolina forced to stay home alone and listen to the Grand Ole Opry on the radio, falling asleep to it and square dancing in her dreams, while her family got to actually go. Finally, she becomes old enough to join them, and remarks on the happy memory onwards. Tucker, probably not much older than the character she takes on in the song, gave this sweet story a sense of authenticity alongside its infectious melody.
SOMETHING NEW
The Paris Match - Settle Down
April 30th, 2026
The Paris Match - Settle Down
April 30th, 2026
The Paris Match, named after a song by The Style Council (a favorite group of mine), are a power pop band from England. After some time performing live, they debuted their first single only barely over a year ago. Now, with a December EP already under their belt, the group has put out a new single produced by the era's latest favorite indie darling: Cameron Winter. Having achieved skyrocketed success through both solo ventures and his leadership of Geese, his writing and musicianship, most notably his distinctive voice, are being nudged to the side to instead prove his skills as a producer.
The moment The Byrds' Roger McGuinn sang Bob Dylan's "in the jingle jangle morning" lyric, jangle pop became the term for open chords played on trebly and right guitars, often 12 stringed ones. This is also known as power pop, and the people want it back. The Lemon Twigs, whose new album will be featured next week, have been reviving the style for years now. It's a deeply chronological genre that's rooted in the intersection of the 1960s jangle sound like The Byrds and The Beach Boys, and the faster paces of the 1970s like The Raspberries, all blended in the 80s by bands like XTC and The dBs, who served as a alternative to tiresome hair metal, synth pop, and power ballads of the decade.
In this single, I'm also hearing much different callbacks with the the saxophone parts to something like Bruce Springsteen's E Street Band. So, The Paris Match are certainly reaching that vintage flair, but are still managing to keep things fresh. This song is buoyant and infectiously fun, and features a fascinating bridge full of nearly Debussy-esque keys, sax, crashing drums, and a whole lot of giggles. The instrumentation and giggles slowly build to a crescendo until the outro peaks with energy. The production stands out, so I not only look forward to seeing what else The Paris Match come out with, but how else Mr. Winter will find his way into our current music scene.
The moment The Byrds' Roger McGuinn sang Bob Dylan's "in the jingle jangle morning" lyric, jangle pop became the term for open chords played on trebly and right guitars, often 12 stringed ones. This is also known as power pop, and the people want it back. The Lemon Twigs, whose new album will be featured next week, have been reviving the style for years now. It's a deeply chronological genre that's rooted in the intersection of the 1960s jangle sound like The Byrds and The Beach Boys, and the faster paces of the 1970s like The Raspberries, all blended in the 80s by bands like XTC and The dBs, who served as a alternative to tiresome hair metal, synth pop, and power ballads of the decade.
In this single, I'm also hearing much different callbacks with the the saxophone parts to something like Bruce Springsteen's E Street Band. So, The Paris Match are certainly reaching that vintage flair, but are still managing to keep things fresh. This song is buoyant and infectiously fun, and features a fascinating bridge full of nearly Debussy-esque keys, sax, crashing drums, and a whole lot of giggles. The instrumentation and giggles slowly build to a crescendo until the outro peaks with energy. The production stands out, so I not only look forward to seeing what else The Paris Match come out with, but how else Mr. Winter will find his way into our current music scene.
SOMETHING BORROWED
Stanley Jordan - Eleanor Rigby (The Beatles)
1985
Stanley Jordan - Eleanor Rigby (The Beatles)
1985
Twenty years after The Beatles' Revolver, a young virtuoso took one of the band's most famous songs into his own hands... literally only his own hands, though he manages to create a sound so full it sounds like multiple players. Though there is a fantastic, longer studio recording of this Eleanor Rigby rendition, I've attached the live video from the Newport Jazz Festival here so you can grasp the technical ability of this one-man powerhouse.
Stanley Jordan began playing guitar at 11. By the time he was a student at Princeton, he had the opportunity to play with legends Dizzy Gillespie (yay Dizzy!) and Benny Carter. By his 20s, his name was becoming known in the jazz world. Jazz, the art of improvisation, breeds innovation. With that in mind, it's no surprise that Jordan was able to let that experimental spirit bleed into a pop cover. But how? First, he tuned his guitar to all an unconventional, perfect fourths tuning to simplify the fingerboard. This gives him the foundation for the "touch" technique he's known for, using two-handed tapping in order to play melody and chords simultaneously. His ability to bring all of the song's elements to life, plus some, on one guitar is always going to astound me.
Jordan blows the crowd away through the entirety of the 4.5 minute arrangement below, but something really memorable about the studio recording is the room for letting it grow. It twinkles and lingers at the start, and is not so obviously Eleanor Rigby if you hadn't read the title, but it slowly evolves into a faithful adaptation so unbelievably full of life.
Jordan blows the crowd away through the entirety of the 4.5 minute arrangement below, but something really memorable about the studio recording is the room for letting it grow. It twinkles and lingers at the start, and is not so obviously Eleanor Rigby if you hadn't read the title, but it slowly evolves into a faithful adaptation so unbelievably full of life.
SOMETHING... FOR MOTHER'S DAY
The Temptations - Oh, Mother of Mine
1961
The Temptations - Oh, Mother of Mine
1961
In 1959, Motown was founded.
In 1960, Smokey Robinson and The Miracles were the first group signed, solidifying the Motown sound.
1961, they signed The Temptations.
In 1960, Smokey Robinson and The Miracles were the first group signed, solidifying the Motown sound.
1961, they signed The Temptations.
Once this happened, their first single was Oh, Mother of Mine. Many of us are just accustomed to having always heard The Temptations, so it's difficult to imagine hearing them for the very first time, with Paul Williams' baritone voice opening the song by himself. It's so rich, and is complemented later in the song by Eddie Kendricks' falsetto and the rest of band's voices.
This introductory song to the legacy that followed, however, did not chart. In fact, they didn't have a Top 20 pop hit until 1964. Nonetheless, it's a spirited and catchy song about seeking a mother's advice and support after heartbreak: perfect for Mother's Day this Sunday.