sweet you rock and sweet you roll
--- the Buzz to here ---

10
May

Counting Crows — “Start Again”
(from Underwater Sunshine) —

Some sixteen months ago or so, on a glum and gloomy Friday the 13th, I lay curled up like an inconsolable baby on my living room couch and wept like a dejected puppy watching what I truly believed were the final episodes of my all-time favorite television series, ABC’s classic soap opera One Life to Live, a show I had watched more-or-less daily for twenty-four of its forty-four years. (You may or may not recall my tear-stained love letter to my beloved Llanview-ites, which I wrote with drenched eyes, heavy heart, and gritted teeth on that final, ferociously wrenching afternoon.)

But just as nobody is ever really dead on soaps, rumors of the series’ demise turned out to have been greatly exaggerated: last week, One Life blew back onto the airwaves — alongside sister soap All My Children — via a groundbreaking online venture spearheaded by maverick production company Prospect Park, who have committed to at least a year’s worth of half-hour episodes of each program which are streaming on Hulu and Hulu Plus (and — new revenue stream alert! — which are available for download from the iTunes store.)

With the exception of Dorian Lord’s fabled mansion (which is now a sad shell of its formerly sprawling, gloriously grand self), the sets of One Life 2.0 — which had to be completely reconstructed from scratch, since ABC spitefully ordered the originals destroyed shortly after production had wrapped — are meticulously faithful renditions of their predecessors, and a large chunk of the show’s criminally cool cast — led by the peerless Erika Slezak, and including Hillary B. Smith, Robin Strasser, Jerry VerDorn, Bob Woods, Roger Howarth and Kassie DePaiva (who own 12 Daytime Emmys and roughly a zillion nominations between themselves) — have signed back on for this revolutionary reboot effort. (In addition, though she has since left the writing team, the opening scripts are being co-written by the fiercely fabulous Susan Bedsow Horgan — a not-infrequent visitor to Brandon’s Buzz Radio, and the woman who nurtured this show through its true glory years in the mid-1990s.)

It remains to be seen how this wickedly bold programming experiment will play itself out — Prospect Park has signed on for a year initially, and though we all pray this venture is a blockbuster success that makes those fops who run ABC rue the fucking day they ever decided to divebomb their entire daytime lineup in one fell swoop, just between you, me, and the lamppost, I’m having more than a little trouble figuring out how these folks are even going to get close to recouping such a massive monetary investment — tens of millions of dollars for each soap, and that’s not even counting the costly advertising blitz that has heralded these two shows back to the big time — by relying solely on the brave new frontier of online content delivery. But no matter: even if it is just for a year in the end, I can’t even begin to express how thrilling it is to again be able to revisit my fictional Pennsylvania pals for a spell each day, and to get a bit of real closure on a Life that found itself snuffed out long before its time. Second chances rarely come more well-deserved.

9
May

Elton John — “Little Jeannie” (from Greatest Hits 1970-2002) —

Even casual visitors to this site figure out fairly quickly that I am a massive soap fan, and for that, we can happily blame my maternal grandmother, who quite literally arranged her entire life around CBS’ forty-year-old classic serial The Young and the Restless. (Don’t think I’m kidding about that, either: she owned a catfish restaurant in the Texas Panhandle when I was a kid, and she opened the doors at 12 noon everyday, for the sole reason that her favorite soap came on at 11am and she could watch it while doing all her prep work for the day to come.) Her favorite character: the indomitable Katherine Chancellor, the alcoholic rich-bitch busybody played with inviolable grace and grit for nearly the entirety of Restless‘ run by the legendary Jeanne Cooper.

Cooper passed away yesterday morning at the age of 84, following a couple of years of steadily declining health and a brutal month battling a nasty infection that required multiple hospitalizations, and while the news was not exactly a great surprise — particularly if you’ve been following her son Corbin Bernsen’s regular Facebook and Twitter posts, which have kept her fans up to date on Jeanne’s condition — the loss is a staggering one for the increasingly insular world of daytime television. (Ironically, Cooper’s final Restless appearance — which was taped six weeks ago or so, just prior to her penultimate hospital stay — aired just last Friday, and fittingly, her bittersweet closing scenes were with Jess Walton, whose character, Jill Fenmore, has been the bane of Katherine’s existence since Nixon was in the White House.)

It seems silly to sit here and type a sentence like: I regarded, in a funny and wholly real way, Mrs. Chancellor as something of a surrogate grandmother. Although, it’s quite true that Katherine — and Cooper — managed to outlive both of my own biological grandmothers, and it’s equally true that Cooper could forever be counted on to shoot it straight, in the great matriarchal tradition, packing her hard-won sage wisdom into every syllable of her dialogue, no matter how soapily inane it may have been. (Indeed, if you allowed her dishy, divine memoir — Not Young, Still Restless — pass you by last summer, it’s just out in paperback, and you should run not walk to the closest bookstore: the tome loaded with fabulous stories about her experiences as a contract actress during Hollywood’s golden age, as well as tales about her triumphs and tragedies as an Emmy-winning soap queen. When she spills some delicious tea about the time her daffy co-star Kate Linder — who has portrayed Katherine’s hapless housekeeper for more than three decades — supposedly tried to get Cooper fired and usurp her onscreen position as lady of the manor, you’ll be rolling off the sofa in fits of laughter.) Fare thee well, madam; my daily visit to Genoa City isn’t gonna be the same without you, gal.

8
May

Whitney Houston — “Love That Man [Peter Rauhofer NYC Mix]”
(from Love That Man [The Mixes]) —

Tori Amos — “Flavor [Peter Rauhofer Club Mix]”
(from Flavor [The Mixes]) —

Anyone who gives even the slightest damn about the world of dance music must find him- or herself in deep mourning this day at the stunning death of the extraordinary DJ and remixer Peter Rauhofer, who lost his brutal battle with brain cancer yesterday at the far-too-young age of 48. Rauhofer never quite managed to hit the same rarefied commercial air as a handful of his peers and progenitors (think Todd Terry with his crazy-cool radical reinvention of Everything But the Girl’s formerly mellow “Missing”; think Brian Transeau’s electrifying mid-’90s work with Billie Ray Martin and others), but those trademark tribal beats with which he dabbled (and dazzled) so brilliantly were instantly identifiable, no matter the artist. He was probably best known for his work with Madonna and Cher (the classic remix of whose 1999 international smash “Believe” landed him a Grammy in 2000), but this morning, we here at the Buzz choose to pay our respects by blasting a pair of our favorites from among Rauhofer’s lesser-known mixes: “Man,” a rare highlight from the regrettably dreadful “crack-is-wack” period of Miss Whitney’s recording career; and the spankin’-new “Flavor” (released just last December), as glorious a career-capper as one could envision. (As I tweeted yesterday upon learning of Peter’s passing: The Goddess has been remixed by the best over the years — including the aforementioned BT, whose mad 1996 masterpiece “Blue Skies” made all of us burgeoning house fans rejoice, scream “Tori Tori hallelujah,” and be glad in it — but never once did she sound more bold, more bangin’, more badass than when in Rauhofer’s crisp, capable hands. You were a magicmaker at twirling the knobs and spinning the beats, Pete; may you now rest — and remix — in peace, ever.

4
Apr

Julie Roberts — “Break Down Here” (from Julie Roberts) —

Was I the only one devastated this past Monday night when not one of the four judges on NBC’s thrilling singing competion The Voice — not even fellow country artist Blake Shelton, who has made her acquaintance in the past and who was clearly heartbroken when he realized whose fine vocal stylings he had failed to recognize — turned his or her chair around for the magnificent Roberts, who was so desperately resolute in her determination to steal a second shot in the spotlight after a series of personal setbacks wiped out her once-promising career? Granted, her wobbly take on Shelton’s smash “God Gave Me You” was perhaps not the finest showcase for Roberts’ still-potent pipes, but I was rooting hard for her nonetheless, if only because I still clearly remember the blinding brilliance of her profoundly powerful 2004 debut album, as fine a collection of torch songs and burning ballads as Nashville has produced in the last two decades. That record, for reasons that still remain unclear to me, failed to make a serious dent in the country charts that year: “Here,” the stunning lead single, barely clawed its way into the top 20 at country radio, and its two follow-up tracks (including “Wake Up Older,” a gorgeously harrowing chronicle of an unfulfilling one night stand) hardly made it above number 50. A poorly-promoted sophomore effort stiffed a couple of years later, marking the end of the line for Roberts’ first stab at fame. Seeing her on national television the other night (for the first time in years!) served as a strong reminder that although said fame can be fickle and fleeting, talent always finds a way to re-emerge.

23
Feb

Flo Rida (with the Bingo Players) — “I Cry” (from Wild Ones) —

In a trend that I can wholeheartedly support — if only because it draws attention to one of the greatest songs in the history of great songs, and that’s always a good thing — it has seemingly become quite trendy to construct upbeat hip-hop tunes around the still-thrilling chorus of Brenda Russell’s unforgettable 1988 classic “Piano in the Dark.” (Literally, I had to grab my own self by the hair the other morning and drag my clicking fingers away from the iTunes music store, where I bought so many such songs that I nearly gave myself carpal tunnel.) Flo is riding a hot hand of late, thanks to his smash collaborations with David Guetta and Sia — not to mention his ravishingly raunchy top 10 crossover hit “Whistle,” the lust-drunk lyrics of which make me blush urry time it pops up in a shuffle — and this irresistible slice of fierce fluff feels like one more triumph in a growing string of same. (In case you missed it, I had an absorbing conversation with Ms. Russell four years ago on Brandon’s Buzz Radio, and during the course of that chat, in what I would place amongst the show’s top ten most fascinating anecdotes, she revealed how “Piano” came to exist in the first place, and how — nonsensically — it almost wasn’t released as a single at all. The privilege of being able to ask Brenda the questions that elicited her stunning story stands as one of the highlights of my life, and if you’re at all a fan of great music, it’s sure to brighten your day.)

9
Feb

Son Volt — “Drown” (from Trace) —

Because we had gift cards and certificates whose dates of expiration were quickly approaching, A and I took dinner the other night at our local Logan’s Roadhouse, whereupon we happened to get paired with the most charmingly ingratiating waitress I’ve ever met. Throughout the course of our mighty tasty meal (which was capped off by a most creative dessert: the cutest miniature metal buckets filled with various fruity cheesecake and brownie a la mode concoctions), we learned far more about our perky server — from her love of meat loaf to her odd Brady-Bunch-esque family arrangement involving her fiance’s ex and their collective brood — than we could ever have hoped to know. She didn’t even mind when I would occasionally burst into song, as I did when this forgotten classic from 1996 spilled out from the restaurant’s speakers and I felt impelled to jam. (I hadn’t heard this one in forever, but I had an instant memory of driving Sherry Ann mad playing it over and over again back in the day, and I have vowed to do the same to A — who was a bit nonplussed by this fabulous tune’s obvious charms; he claimed he could barely hear it, and I retorted he was barely listening — until he’s every bit as much in love with this song as I am.)

8
Feb

Matthew Perryman Jones & Mindy Smith — “Anymore of This”
(from Anymore of This) —

Smith and Jones aren’t exactly household names — yet, mark well — but for us fans of bubbling-under, angst-ified indie rock, this heavyweight collaboration is, in its own peculiarly subtle way, roughly as earth-shakingly momentous as that time those divine divas Whitney Houston and George Michael decided to blow minds worldwide and team up for one of the all-time great bitchfests. I know not if this is a one-off or merely an appetizing morsel portending more such duets to come, but no matter: “This” is a tender, dreamlike, wrenchingly sweet alliance.

30
Nov

Dionne Warwick — “It Was Almost Like a Song”
(from Now: A Celebratory 50th Anniversary Album) — It Was Almost Like a Song - Now: A Celebratory 50th Anniversary Album

Marking her golden anniversary in the bidness, the glorious Warwick — whose debut single “Don’t Make Me Over” became an instant smash upon its release exactly fifty years ago this month — is back with a newly re-recorded collection of her classics, which, as one might expect, leans heavily on her masterful collaborations with Burt Bacharach and the recently deceased Hal David. You’d think she’d have tossed in a new take on “Heartbreaker” or “Finder of Lost Loves” for the ’80s lite-FM freaks in her fan base (hint: me me me me me), but I’ll take what I can get, especially considering that a) Lady Dee still has a remarkable command of her voice, which remains impeccable; and b) she does throw us a curveball or two in this album’s tracklist, among them this restrained, riveting cover of an old Ronnie Milsap chestnut. (I can’t even tell how good it does my heart to see Miss Dionne crawling back into her comfy wheelhouse, as heretofore, her most memorable accomplishments of the past two decades have been that whole Psychic Friends fiasco and calling supermodel Niki Taylor a “hussy” behind her back in an instant classic Celebrity Apprentice catfight. In other words: welcome the hell back, lady.)

12
Nov

Gladys Knight — “Licence to Kill”
(from Licence to Kill [Original Motion Picture Soundtrack]) — Licence to Kill - Licence to Kill (Soundtrack)

In honor of James Bond’s triumphant return to the world’s cinemas (with a $90 million weekend at the North American box office alone for the latest installment, Skyfall), I’d like a moment of appreciation for my own personal favorite Bond theme, which would have been a well-deserved smash in the spring of 1990 had the film itself not been such a commercial dud. Decades later, it’s still brills. (As for the current title theme, written and performed by the peerless Adele: A professed his love for the tune after seeing the film Saturday night, but I find it a bit meh. It’s certainly lush and alluring, and Adele predictably gives it her all vocally, but the verses just meander aimlessly and the chorus lacks one of those trademark grab-ya-by-the-guts hooks that her gunnysack full of Grammys proves she knows how to craft. In a recent string of red-hot successes, “Skyfall” leaves me cold.)

6
Nov

The Yeah Yeah Yeahs — “Maps” (from Fever to Tell) — Maps - Fever to Tell

It has been crystal clear to me, at least as far back as late April 2011 — roughly around the time that he called out Donald Trump as being a “carnival barker” the exact same weekend that he gave the order to kill Osama bin Laden — that our President, Barack Obama, was destined to be re-elected to a second term, wholly in spite of the fact that the primary Republican talking point of the past four years has been that Mr. Obama is a failed president (and, even worse, a weak-kneed leader) without a credible record to run on. (Float that asinine argument past the world’s most prominent terrorist networks — a non-trivial number of whose principals have been taken out by bullets between the eyes — or the multiple millions of employees once again manufacturing American automobiles, or the tens of millions of folks who were previously deemed uninsurable for one reason or another, and see how far it flies.)

Even that far back, it was clear to me that the Republicans were sunk from jump, because after their sparkling A-listers (Governors Haley Barbour, Jeb Bush, Chris Christie), a handful of promising second-stringers (Mitch Daniels, Rob Portman, Paul Ryan), and the reigning king and queen of their solipsistic sideshow (the aforementioned Trump and that inimitable ignoramus Sarah Palin, she who has to write her staunchest principles on the palm of her hand like some sort of makeshift Cliff’s Notes to remind her of what her core beliefs are supposed to be, and she who, on a bet, couldn’t tell a room full of reporters just what Paul Revere was really doing the night he took his famous midnight ride) all declined to throw their hats in the ring, the party was left to stitch together the most ramshackle patchwork of clown-car candidates ever witnessed in modern American politics (Herman Cain! Michele Bachmann! That gruesome twosome of Ricks, Perry and Santorum!) to drag through the grueling gauntlet of their primary process.

Of course, the primaries were just an amusing — or, rather, amusingly frightening — formality, because the 2012 Republican presidential nominee was always doomed to be Mitt Romney, because, regardless of his quite evident flaws — which are far too great in number to list, though I’m certainly about to try anyhow — it was his turn in the batting order, and that party is nothing if not strictly structured with regard to whom they hand the keys to Daddy’s T-bird. (As the great strategist Mary Matalin opined last year: Democrats fall in love (witness: JFK, Bubba Bill, and Mr. Obama himself, who needed all of one electrifying speech to propel himself onto the national stage), and Republicans fall in line (to wit: Romney is perceived to have paid his dues four years ago after suffering a stinging loss to eventual nominee John McCain, who himself had to wait eight long years after being painfully shoved aside for a baby Bush in 2000, eight years after Poppy Bush’s reign as a one-term wonder was essentially the equivalent of a third round of Reagan Republicanism).)

They never liked him, or trusted him, or believed for a second that he was one of them — indeed, to such an extent that they very nearly gave both the stunningly undisciplined Santorum and that slithering lizard Newt Gingrich the upper hand against him — but in the end, the Republicans did as was divinely decreed and cast their lot with Romney. The problems were immediate and immense: Romney is rich and privileged, in an era in which the lines of demarcation between the 1% and the rest have never been more starkly defined; Romney was a money man, a hardcore Wall Street-walker, in an era in which faith in and respect for Wall Street has plunged; Romney’s single proudest achievement as the governor of Massachusetts was a massively successful overhaul of the state’s healthcare system, in an era in which governmental intervention in same has suddenly become anathema in conservative circles. The irony of the biggest and most vulnerable chink in Romney’s armor is as delicious as it is dizzying: eight years after the Republicans literally leveled Democratic nominee John Kerry for being for the Iraq war prior to being against the Iraq war, they have managed to nominate the ultimate flip-flopper, a man who has, depending on whichever way the wind was blowing on any given day, taken every conceivable position on every conceivable issue, social, fiscal, or mineral, under the sun. (Not for nothing did Jon Huntmsan call ol’ Mitt a “well-lubricated weather vane” during the hazy run-up to primary season one year ago.)

Romney’s laughably gaffe-prone candidacy has been one of the most consistently inept operations in the entire history of modern presidential politics, and indeed, the blunders and boneheaded statements can be listed by rote: from “Corporations are people too, my friend!” to Michigan’s trees being the right height to trying to goad Rick Perry into a $10,000 bet on national television to “I like being able to fire people!” to Etch-a-Sketch to the continued bungled, secrecy-shrouded responses about tax returns to those paralyzing 47 percent comments, it’s truly a marvel to wake up on election morning and see a race as close as this one is, given how largely one-sided its triumphs and its travesties have appeared to be.

In the coming days, you’re going to hear a lot of noise from America’s punditocracy about why Mr. Romney has suffered such a crushing defeat at the end of what seemed like such a close horse race. High among the reasons you’re likely to hear thrown about: Hurricane Sandy, which slammed into News Jersey and York a week ago and basically froze the news cycle in place for days on end, and while I’m not naive enough to believe that fact will have had absolutely no effect on what will certainly be tonight’s end result — after all, Romney was essentially a non-entity in the entire closing week of the campaign, whilst the President was afforded wall-to-wall television coverage of himself being, ahem, presidential — I am also cynical enough to believe that Sandy unleashed her wrath far too late in the game to make any discernible difference.

To my eye, there has always — or, at the very least, there has for the last eighteen to twenty months — been one clear fact about this election (with a number of related tributaries draining back toward that one clear fact), and that is this: this race is going to be decided by the people who live in this country’s so-called “rust belt,” which is to say the voting citizens of Michigan, Wisconsin, Ohio, and Pennsylvania. That’s where not only the lion’s share of this country’s cars get built, but where the lion’s share of this country’s cars’ accessories — your headlights, your seatcovers, your dashboards, your frickin’ fenders — get built. And all the people who do all said building are able to do so today because three years ago, when America’s automobile companies stood on the brink of utter and irrevocable collapse, President Obama and his team made the very unpopular decision to bail out General Motors and Chrysler using government funds and keep the lifeblood of this country’s industry pumping by somewhat artificial means until its beating heart could be restarted. In the days immediately following President Obama’s 2008 election victory, Mr. Romney — who, it bears noting, is a child of the American car industry (in the dead center of the 20th century, his father George was a die-hard advocate for American automotive engineering and successfully served as president and chairman of American Motors Corporation before turning to politics himself) — penned his infamous New York Times op-ed piece, which ran with a staggeringly simple headline: “Let Detroit Go Bankrupt.” (To be fair, he didn’t write the headline — newspaper editors generally handle that pesky task — but he did write the sentiments that the headline brilliantly and succinctly encapsulates.)

I guaran-damn-tee you this: the people whose vote matters today, to both of these men, have jobs. And they know why they have jobs. They see the choice we as a nation face on this day more clearly than anyone else in any other swath of the country can fathom. It’s a choice between a man who has seemed to understand in his bones the fact that America’s crowning achievement (laying aside that we are a free populace and govern ourselves) has always been that we build things here — it is incontrovertibly central to our psyche as a powerful nation — and a man who has seemed to put his faith in money above all, and who basically told every last one of those workers in the rust belt that only the strong survive, and that those who are already strong carry NO responsibility to extend their hand down the ladder and help those who are weak to become strengthened. Today, this day, the choice couldn’t possibly be more clear.

(A visual postscript: Just for kicks a few weeks back, A — who has been extraordinarily patient with my daily obsession on this race over the past year, and who is about as fed up with the whole notion of politics as anyone I’ve yet met — printed out a blank map of the country, gave it to me, and asked me to predict how I thought each state was going to lean in the final electoral college vote. And like a third grader, I literally sat at my kitchen table with my map colors and a pencil sharpener and painstakingly shaded in hues of red and blue all fifty states based on my gut feeling of how things were moving. That very map can be seen at the bottom of this post. You’ll note that New Mexico looks odd, because I originally colored it red by mistake, and when you try to put blue on top of red, you only get purple. You’ll also note that I put Virginia in Romney’s column, even though the polling coming out of the state has been awfully fluid in the past couple of days, so even though my final electoral vote tally is Obama 290, Romney 248 — and the first one to 270 wins — you could well see the President soar past 300 electoral votes tonight, which might be as close to a landslide victory as you’re likely to see for the foreseeable future.)

1
Nov

Jason Mraz — “93 Million Miles”
(from Love is a Four Letter Word) — 93 Million Miles - Love Is a Four Letter Word (Deluxe Version)

Longtime readers of this website know how hard I work to keep this as Mraz-free a zone as humanly possible. But one or another slips past the goalie urry now and then, and so it happens with this harmless tune, a lovely treatise on the lonely journey traveled by sunlight, all just to keep us foolish mortals warm and, occasionally, help us find our way home.

29
Oct

Barbra Streisand — “I Think It’s Going to Rain Today”
(from Release Me) — I Think It's Going to Rain Today - Release Me

For the record, you’ll nevah, evah convince me that Bette Midler’s bravura cover of this Randy Newman chestnut isn’t still the best I’ve ever heard. (This scene from Beaches still chokes me up, every damn time.) Notwithstanding that declaration, all the hoopla over Streisand’s just-unearthed version (which, heretofore, has been buried in Babs’ own personal vault for some forty years, and which anchors her brand new album of rarities and little-heard gems) is certainly well-earned: backed by Newman himself on piano, the diva turns inward, those still-evolving pipes wise beyond their impossibly young years, laying down an exquisitely crystalline vocal that crawls through the speakers like quantified, tangible grace.

12
Oct

Billy Joel — “My Life” (from 52nd Street) — My Life - 52nd Street

Forgive me for showing up late to this party (been swamped with work stuff the past couple of weeks), but I recently ran across a fascinating article regarding the compact disc, which marked its thirtieth birthday last week, and which has brought into my life no small measure of joy for much more than half that number of years. And that led me scurrying to learn all manner of things I hadn’t previously known about the medium and its rocky inception: born of a decade-long competition-turned-collaboration between Sony and Philips (although, by most accounts, Sony — still stinging from the stunning failure of its Betamax technology as a viable alternative to the then-explosive popularity of VHS home cassette recorders — had much more on the line (and arguably much more to gain) from ensuring that the music industry adopt and embrace their stunning entertainment innovation), the very first CD player made its debut in Japan on October 1, 1982, accompanied by Billy Joel’s triumphant Grammy winner 52nd Street, the first album to be released on the new format, which wouldn’t make its way to America until five months later, when the technology — with its crystalline audio and staggering ease of use (no more counting grooves on a record, nor blindly fast-forwarding a flimsy cassette tape that the stereo was likely to eat anyhow) — really took flight. Three decades hence, with the effortlessly ephemeral digital music boom in full ascent and record stores dropping like so many wilted roses, the impending death of the compact disc is being predicted (and, often, cheered) from many corners of the business, but we here at the Buzz wish to raise a glass to our preferred method of delivery for the magnificent music that we celebrate with such glee (and, on our best days, such grace) on this very website. Happy thirtieth, CD.