Tune Tag #45 with Ryan Egan of organizing an accident: Michael Jackson, NRBQ, Matthew Sweet, Stevie Wonder, Lush Life, Caetano Veloso, Ryan Egan
🌎Singer/songwriter, Ryan Egan, lives the sweet and lush life in The City of Lights; he does Tune Tag battle with a resident of The Live Music Capital of the World, Austin, TX!
Howdy, Ryan!
Welcome to the Tune Tag Jungle!
TAG! You’re IT!
Tune Tag welcomes singer/songwriter, of organizing an accident on Substack!
Ryan Egan is an American singer/songwriter based in Paris, France. Originally from New Jersey, he has spent the last two decades recording and performing music in various projects. Since launching his career as a solo artist in 2015, his music has garnered critical acclaim from outlets such as Billboard, Noisey, Bandcamp, Clash, and more, as well as accumulating millions of streams across platforms.
One year ago, Ryan began publishing his Substack newsletter, organizing an accident, in which he shares an unreleased home demo every week accompanied by reflections on music, creativity, and life in Paris. Since its launch, he has shared over 70 songs exclusively on Substack! Find Ryan on social media: @thisryanegan
Ryan’s music & social links:
Streaming: https://ffm.to/thisryanegan.otw
Instagram: https://www.instagram.com/thisryanegan/
Facebook: https://www.facebook.com/thisryanegan
YouTube: https://www.youtube.com/c/RyanEgan
Last week, of Best Music of All Time, pulled up a Tune Tag chair, and did us proud:
….and, next week,
from Rock’n’Roll With Me graces us with her presents…..uh, I mean, presence! (Ooh, maybe she’ll bring gifts!)Ryan’s song #1 sent to Brad: Caetano Veloso, “Cucurrucucu Paloma,” 1995
Ryan’s rationale: If I were asked to name the most beautiful song of all time, I would likely propose this one instinctively. I first heard it in Wong Kar-wai’s Happy Together (1997), set to images of the characters driving through the Argentinian countryside with its sprawling landscapes. It gripped me in a way a song rarely can.
I had to find it. I later heard it again in Pedro Almodóvar's Hable Con Ella, where the song is prominently featured with a gorgeous live performance, as well as Moonlight by Barry Jenkins (a clear homage to Kar-wai).
It is originally a Mexican folk song from the ‘50s, but Caetano’s interpretation (from his 1995 Fina Estampa En Vivo album on Mercury Records/U.S.) transforms it into something far more soul-wrenching, timeless, and elegant. In knowing his larger legacy in Brazilian music, the song is only that much more brilliant, standing alone in his catalog the way Björk’s “It's Oh So Quiet” does, a magic card in an artist’s deck played almost criminally seldom.
“Cucurrucucú Paloma” (written by native Mexican, Tomás Méndez, above, it’s been recorded by notables like Harry Belafonte and Perry Como) is a song that I could listen to on an infinite loop: the way the strings flutter in and out like the gills of a fish; the way his voice sweeps androgynously into that effortless falsetto, bending time and space. It is everything I look for in a performance.
Brad’s song #1 sent to Ryan: Los Tamara, “Paloma Blanca,” 1975
Ryan’s response: I can only assume this pick was inspired by the name/word “Paloma” in both titles, and that both artists were active in the ‘60s/’70s Latin music world, namely Brazil and Spain.
Brad’s rationale: It’s all about the dove, the “Paloma”; in this case, the one that’s “Blanca,” on a single that enjoyed release only in Spain in 1975…in fact, there were eight covers of the song in that first year, with Los Tamara’s version being the fourth!
American listeners may recognize the hit song from that same year by The George Baker Selection on Warner Bros. Records. It flew all the way to #1 on Billboard’s Easy Listening chart, and got to #26 on the trade publication’s Hot 100 singles chart, and even landed at #33 on the country chart! That’s what you call true cross-over!
The song’s creation is credited to Dutchman, one Johannes “Hans” Bouwens, who went by the nom-de-tune of George Baker. I chose the Los Tamara (from Spain) cover because I’d never heard another one besides the Baker hit, and I really enjoyed the voice of Los Tamara lead singer, Pucho Boedo.
Ryan’s song #2: NRBQ, “Magnet,” 1972
Brad’s response: Not seeing (or hearing) an immediate link between the Spanish Los Tamara and the Kentucky-based New Rhythm and Blues Quartet (NRBQ), I heartily endorse a hard left from the treacly MOR of “Paloma Blanca”! What say you, Ryan?
To be honest, this may be the first notes I’ve ever knowingly heard of NRBQ! This “Magnet” came from their 1972 Scraps album, released on Kama Sutra, a Buddah Records subsidiary.
When I got into commercial FM/rock radio 3 years later (in 1975, when I was 20), we likely had NRBQ albums in the control room, but I don’t recall pulling any out to play. Regular reader of all things rock press, though, I knew the name, and had read album reviews about their sound and records.
Ferrous Bueller?
So, let’s call this a true “first impression”: I was taken by the jaunty piano beginning by Terry Adams (pictured above), and the goodtime bouncy beat that merged with the clever lyrics depicting how he and his lady are complete opposites (with similar similes like “I’m like a rowboat, you’re like the Queen Mary, I play a tango, you play a symphony,” and of course, the source of the title, “I’m like a magnet, you’re like a piece of wood”).
Scraps was notably produced by former Hendrix, Jobriath, and Carly Simon producer, Eddie Kramer, who, at this point in 1972, was a scant 2 years away from putting KISS on the recording (and thus, the lucrative, but no less ludicrous action-figure) map.
Ryan’s rationale: When I hit play on Brad’s first song choice (“Paloma Blanca”), I almost immediately paused it and thought of this song. In actuality, the rhythm is not that similar (Brad’s is much closer to a song like “Ob-La-Di, Ob-La-Da”), but the feel-good quality reminded me of being totally hooked after hearing “Magnet” by NRBQ for the first time! It was so fun, and it was all I wanted to listen to for a moment. It was one of those songs that I immediately texted to a handful of friends whom I knew would appreciate it too!
45 years later, NRBQ are still able to make their “Magnet” attractive on stage:
Brad’s song #2: Matthew Sweet, “Magnet and Steel,” 1998
Brad: As for tagging to the previous “Magnet,” an easy call would be “Magnet and Steel” by the pop-friendly, Walter Egan, but with just a leap forward 2 decades, we can land on the 1998 cover by the far more hip-pop Matthew Sweet, recorded for the Sabrina the Teenage Witch ABC-TV series soundtrack album (1996-2000), but we dasn’t hold that agin him!
Joining him (on guitar and backing vocals) is longtime Fleetwood Mac guitarist, Lyndsey Buckingham, who was also on Egan’s original 1978 hit (as was sparring partner, Stevie Nicks, but she didn’t show up for the Sweet cover, after becoming privy to the guest list)!👇
Ryan’s response: I’m pretty sure this pick was once again inspired by the title, and once again, has helped to transport us in a totally new direction musically!😁👍
Ryan’s song #3: Ryan Egan, his recent "Full-Time"
Brad’s response: I love Ryan’s song, and I encouraged him to Tag any of his personal Tunes as he saw fit! Now, I’m anxious to hear if he found something in his song that can link back to my Matthew Sweet song!
Ryan’s rationale: Before kicking off our Tune Tag, Brad had lightly suggested that I share some of my own music, if it were fitting. In this case, the last song sparked so many ideas for tracks, both inspired by, and nostalgic for, 1950s American pop music, i.e., Frankie Valli’s “Grease” or music from Brian De Palma’s Phantom of the Paradise.
In fact, many artists post-’50s, all the way up until the present day, have made careers out of reviving that infectious and sentimental 6/8 groove, and I myself have been known to put my own spin on it from time to time over years of releasing music. This is a song off my debut full-length album, Soft Power, that pulls from that tradition, as well as, dare I say, Yacht Rock and ‘80s teen movie soundtracks!
Brad’s song #3: Lush Life, “Part Time Lover,” 2015
Ryan’s response: While I’ve never heard this version of the song, I absolutely love Brad’s instinct to choose “Part-Time Lover” in response to my song, “Full-Time,” which was very much inspired by Stevie’s version from the time of conception to producing it in the studio for the album!
Brad’s rationale: What a wonderfully delicate and classy arrangement on Stevie’s song! Once I found this, I stopped looking, leaving some 55 covers on the table…but, feeling as if I’m missing nothing, this one’s so inspired. I love the female perspective (as delivered by Lush Life vocalist, Norwegian, Nina Gromstad) on her part-time lover against Stevie’s original. I was obviously matching Ryan’s “Full-Time” (whether lover or not) with Stevie’s less-committed lover!
Ryan’s song #4: Stevie Wonder, “Ordinary Pain,” 1976
Brad’s response: Staying with Stevie, which can never be a bad thing! One memory I have of his great catalog is his 1976 double album (with bonus EP), Songs in the Key of Life. It was in the control room at commercial rocker, FM-102, WFMF/Baton Rouge, and I certainly reached for it when I could during my 7-midnight on-air shift!
Ryan’s rationale: As a die-hard Stevie Wonder fan, I had to continue the thread, but as it is the last song selection, I chose “Ordinary Pain,” the Side Two closer of Songs in the Key of Life. This is fitting because I hold the belief that Stevie wears the crown not only for the best run of back-to-back albums (beginning when he was 22, with his 1972-1976 suite including Music of My Mind, Talking Book, Innervisions, Fulfillingness’ First Finale, and Songs in the Key of Life), but also for writing the greatest album-closing tracks of all time (including “Another Star” from Songs, highlighted here, on
’s The Run-Out Grooves)!“Ordinary Pain” is one of the best, an absolute adventure of a song that begins with a light, descending chord progression played on a Fender Rhodes, and then melts unexpectedly into the stankiest, most Funkadelic, Outkast-career-inspiring type o’ jam you’ve ever heard, featuring backup vocals by two giants of R&B: Minnie Riperton and Deniece Williams. Stevie is the G.O.A.T!
Minnie
Spotlight on the ladies’ 1976 perspectives: Riperton was between albums at the time: In ‘75, she had released Adventures in Paradise, with her Stay in Love album dropping in 1977, both for Epic Records. Stevie actually returned Minnie’s Songs favor by co-writing a song with her and Minnie’s husband (and comic actress, Maya Rudolph’s father), Richard Rudolph, “Stick Together,” on her Stay in Love album, produced by Motown veteran, Freddie Perren.
Stevie wasn’t involved in the sessions, but, I reckon we’ll see him in-studio with another good friend before too long. After all, what’re friends for?
Riperton, sadly, passed away at 31 of breast cancer just three years after recording Songs with Stevie.
“Niecy”
Gary, Indiana native, Deniece Willams, became a backup vocalist for Stevie Wonder as part of his “Wonderlove” back-up singers, singing on Talking Book, Fulfillingness’ First Finale, and Songs in the Key of Life. She also appeared on Minnie’s 1974 album, Perfect Angel, and Roberta Flack’s 1975 album Feel Like Makin’ Love.
She left Wonder in 1975 to sign a deal with Columbia Records, and released This Is Niecy in 1976. Her debut album rose to #3 on Billboard’s Top R&B/Hip-Hop Albums. Two years later, she released a duo album with Johnny Mathis, That’s What Friends Are For, on which they recorded a cover of Billy Joel’s “Just the Way You Are,” produced by Jack Gold, with orchestra conducted and arranged by Gene Page.
And, wouldn’t you know it…a good, old friend showed up, one day, to play harmonica on “Just the Way You Are”: Stevie Wonder….’cause “That’s What Friends Are For” (written by Niecy, Fritz Baskett, Lani Groves, and Clarence McDonald):
Brad’s song #4: Michael Jackson, “Carousel,” 1982 (2001 Thriller Special Edition)
Ryan’s response: I’d guess this is a genre-based pick, and a fine one indeed. I’ve spent so many years indulging in Michael’s B-sides, demos, acapellas, and anything else I can get my hands on. My earliest memories of the transcendent experience of music were coincidentally thanks to both Michael Jackson and Stevie Wonder, and for that, I am eternally indebted and grateful.
Brad’s rationale: Michael Sembello (pictured above) played guitar on a couple Stevie albums, including Songs in the Key of Life. Sembello co-wrote (with Don Freeman) “Carousel,” which MJ recorded for Thriller, but it failed to make the final track listing, and was included on the 2001 special edition reissue.
Sembello, a Philly native, began his career in music as a session guitarist. By 17, he was working professionally with Stevie on guitar as a studio player on Fulfillingness’ First Finale. He was also chosen as one of the core artists who worked on Songs in the Key of Life. He was credited as lead and rhythm guitarist on most of those tracks, including the intricate lead part on the instrumental, “Contusion.” He also shares songwriting credit with Stevie on the song, “Saturn.”
Sembello was a solo artist on a #1 song in 1983, “Maniac,” co-written with Dennis Matkosky, and a key song in the smash film, Flashdance. For an entertaining video interview with Sembello and Matkosky on how they composed the song (they demonstrate on Sembello’s untuned piano!), and how the germ of the song began with a video rental of the 1980 slasher movie, Maniac, click here!
Thanks again for having me this week! 'Twas a pleasure.
A belated comment, the whole Tune Tag is great, but I particularly appreciated the Caetano Veloso track Ryan opened with. Gorgeous.