When people listen to music, I imagine their backs to work
like tuning forks. The vibrations hit
their ears and their insides vibrate, and sometimes it works. Sometimes it doesn't. I figure that’s why Led Zeppelin and the Grateful
Dead work so well for some, and not at all for me. There’s a disorganized jangley-ness in the
Dead that bounces my insides around in a very disorganized fashion that makes
me anxious. And Zeppelin, sorry to say, doesn't work for me either. In my world, the
drums should hit slightly ahead of the beat and the bass should lag slightly
behind. I become very uncomfortable when
John Bonham and John Paul Jones do exactly the opposite.
I am very glad to be able to identify what wasn't working for
me with those bands. I was feeling so
arbitrary, contemptuous, and close minded.
“Yuck, I don’t like them.” For
the longest time, Deadheads and every guitar player in a hundred mile radius regarded
me as ignorant and just plain uncool.
Now, I appreciate that it’s just me and my taste and the tuning fork in
my very own back. I've given it a chance
and a lot of though and realize I can completely appreciate and enjoy Kashmir
by Page and Plant to a degree I never will tolerate hearing the same song as most
everyone in the world prefers it, “getting the Led out”. It’s all me, my spine, and I own that.
What does work for me is voices. Clear, in pitch, and powerful. And more than that, the voice has to convey
the message it’s intending and to deliver the promise of the genre it’s
portraying. The band underneath has to
do the same. I have been privileged know
and have worked with a handful of people whose voices make the tuning fork hum
just right.
A powerful voice, that doesn't always mean a voice that can
belt a long, high note like some American Idol diva. No, the power is in the story the voice tells
and the control the singer has over their instrument. That’s what I want to have when I sing, the power to
tell the story that’s in the song. Can
I be vulnerable when the story is tender?
Can I be aggressive when the story has an edge? Can I belt out that long, high note when the
song calls for it?
There are a couple of artists who I want to sing like. Their versatility and control and
adaptability are exactly what I want to do and be. Janis Siegel and Cheryl Bentyne from
Manhattan Transfer can sing anything.
(Manhattan Transfer performing "Birdland". Vocally mindbending.) Cheryl will scat in the voice of a trumpet followed by bell clarity and
tender sentimentality. Janis will rock
out, gospel you to church, all edge and class.
Paul McCartney has provided the soundtrack to my life. If you listen to “The
Long and Winding Road”, “Oh, Darling”, “Honey Pie”, then follow up with “Helter
Skelter” you understand that he not only loves music of all types, but serves
the story well and rocks harder than anyone alive.
I went to see Kenny Loggins in concert last Saturday. Kenny has always been one of those singers I
wanted to sing like. I became at total
fan as soon as I heard the album Kenny Loggins Alive. I think what I love about him most is what
could be his biggest marketing problem.
He is labeled a Soft Rock artist, but when I listen to him I hear folk,
jazz, r & b, country, rock, pop… I
can just hear Simon Cowell and Randy Jackson chiding him for not knowing the
kind of artist he wants to be and then praising him because he can “sing the
phone book”.
On the Alive album he opens with a song he wrote that
Barbara Streisand sang in A Star Is Born.
When Streisand sang “I Believe in Love”, she was probably playing it up,
but she sounded out of breath like she just ran a hundred-yard dash when she sang,
“I don’t want to find myself one day waking up and looking at Monday with some
whats-his-name left from Sunday. I believe
in love.” When Kenny sings it, it sounds
like a dance not a race. Not many
people can blow Babs out of the water. (Check it out here)
He has a tender, beautiful falsetto for “Love Will Follow”
and can rock out “Danger Zone”. I can’t
say how many hours I’ve spent listening to Return to Pooh Corner, Vox Humana
and Nightwatch. I sing along with every
note, sing in harmony, and test my range.
This was going to be the third time I’ve seen him in concert. I have to admit, when I listen to Return to
Pooh Corner, I tear up on almost every song.
When I hear “Pure Imagination” and “Rainbow Connection”, I am suddenly in
a place where I am little and my kids are little and everything is fun and we
can wish and play. ("Rainbow Connection" is the best song ever. Great job Paul Williams and Kermit)
So, even if my expectations before going to this concert
were unspeakably high, I was not disappointed.
He was in fantastic voice. He moved freely
from “Danny’s Song” to “Your Momma Don’t Dance” to “Footloose” to “Celebrate Me
Home”. I was transported to all my old
memories like looking through a found photo album. Then, after hours of singing, he ended with the
power ballad “Forever”. I know a lot of
singers. I really know very few who can
pull it all the way through and close so very strong.
I finally understood why I liked his song writing. The realization came when I was listening to
the opening band. I have to explain
about the opening band… Blue Sky Riders
is a band I will be following, and I hope they are extremely successful. Ok, Kenny Loggins is in Blue Sky Riders, he’s
one of 3 exceptional singer-song writers in the band that includes Gary Burr,
formerly with Pure Prairie League, and Georgia Middleman. Their songs have sense of positive striving,
a courageous insistent optimism. I
really like that. I realized that my
favorite Kenny Loggins songs all had that same that positive energy. Can I write like that? That’s something to work towards.
I have to thank Georgia Middleman. Doug and I were listening to her sing her
song “Little Victories” and the song had such beautiful and positive message about
endurance that he had tears streaming down his face. I met her in the lobby during intermission
when she was signing autographs and told her how Doug was on dialysis and her
song touched him. She said she had
worked in a dialysis clinic and she knew it was a hard thing to go through. I have to thank her for that moment. Every time I hear that song, I’ll think about
that moment and connecting with Georgia, Gary and Kenny as artists on a very
personal level.
Funny, I am remembering accosting Manhattan Transfer at The Blue Note in Greenwich Village in New York. They called me The Fairfield Girl. I bet I was the loony-bird stalker they warned their security about. Must be careful.
So, the tuning fork in my back was humming pleasantly and
profoundly for several hours this weekend at the Uptown Theater in Napa. Thank you, Doug, for playing Loggins and
Messina Sittin' In on a Sunday morning, prompting me to look up tour dates. Thank you, Blue Sky Riders, for beautiful
moments of human connections and encouragement.
Thank you, Kenny Loggins, for giving me a vocal and lyrical model for my singing adventures. All in all, a great experience.