Jenny Lewis Follows Her Bliss on “Austin City Limits”
With news of Jenny Lewis reuniting with her former band, Rilo Kiley for a North American tour, after a 17-year break, this got me to thinking about Lewis’ most-recent solo album, Joy’All, and her 2023 appearance on PBS’ “Austin City Limits” (ACL). Lewis was on the iconic music program to promote the album, which reflects her life during, and after, the height of the COVID-19 pandemic. For the 30-minute airing, she and her band (Megan Coleman, Drums; Nicole Lawrence, Guitar; Jess Nolan, Keyboards and Vocals; Ryan Madora, Bass and Vocals) performed six songs. They opened with the title track, which despite the unsettling picture the opening verse paints confirms in the chorus Lewis’ shift to find the silver lining in an otherwise dark cloud. (Yes, that was a Rilo Kiley reference in there.)
The poetic, picturesque, “Heads Gonna Roll,” from her 2019 album, On the Line, was next on the set list, followed by a pair of songs, “Cherry Baby” and “Psychos,” with a theme that fits right into Lewis’ lyrical wheelhouse: relationship disconnect. The last two performances, the empowering ode to singlehood, canine companionship, and life’s simple pleasures, “Puppy and a Truck” (“I ain’t got no kids/I ain’t got no roots/I’m an orphan/Catch me if you can/I’m lacing up my boots”) and the stream-of-consciousness, “Love Feel,” serve as the antidotes to the aforementioned angst.
As is customary after an artist’s televised performance, ACL includes interview footage, where Lewis summarized her perspective: “The older you get, you realize that with the good stuff you have to take all the other stuff as well, and it’s just the balance of the joy and the suffering… I just write through all of the things, the good times and the difficult times. You just write to all of it.”
Check out the performance of “Psychos,” where Lewis makes additional references to balance (“Jesus Christ and the devil/Yin and Yang”; “When you are up and down”; “Is it the ego, the id? Hello, goodbye”), as well as the cyclical nature of life (“It’s a merry-go-round”), that lyric now even more profound as Lewis embarks on that 24-date Rilo Kiley reunion tour. She’s taking her own advice: “Follow your joy’all.”
The Pop Zeal Project (Track 84): Gwen Stefani: “The Real Thing”
When Gwen Stefani of No Doubt ventured out to make her first solo album, 2004’s Love. Angel. Music. Baby., the singer used it as a creative outlet to pursue other forms of music besides the ska/post-punk sound, for which the band was already famous. While on The Harajuku Lovers Tour to support the solo effort, Stefani, during an interaction with the crowd after “Crash,” offered insight as to the intention behind L. A. M. B.:
Stefani’s creative direction for L. A. M. B. pointed towards psychedelic pop-punk.
“I was on tour with No Doubt… and I said to Tony… wouldn’t it be fun to make a dance record? Very, very clean, easy, simple idea… I was never gonna tour the record, but then you guys keep buying the record, you keep bringing me out, you keep tempting me. And I’m on this big ol’ wave and I just wanna crash right down on top of you, and I just wanna hear you guys sing the songs back to me.”
The song in the setlist before “Crash,” entitled “The Real Thing” was cowritten by Stefani, Linda Perry, and Stefani’s then-husband, Gavin Rossdale, and co-produced by Nellee Hooper (No Doubt’s “Hella Good”; “Running”; their cover of Talk Talk’s “It’s My Life”). Lyrically, the love song expresses how much one, after being with another for some time, still wants, and needs, the other around. Presumably, Stefani and Rossdale, each with their own rock-star careers and busy schedules, were writing about each other at the time, with the following lyrics a reflection of their relationship: “And we’re together most days/But I still love to have you around”. However, in 2016, after 14 years of marriage, Stefani and Rossdale divorced, making one of the track’s later verses a bit prophetic: “Heaven knows what will come next/So emotional, you’re so complex/A rollercoaster, built to crash/But I still love to have you around.” (Note another reference to the word, crash.)
Musically, “The Real Thing” was heavily (and intentionally) inspired by New Order’s 1986 track, “Bizarre Love Triangle.” Stefani would have been 17 years old when the synth-pop song was first released, and indicates another musical style that Stefani was interested in besides the ska/post-punk sound that a budding No Doubt was embracing. (One can almost imagine Stefani staying up late on a Sunday night to watch MTV’s “!20 Minutes” to catch the video for “Bizarre,” or sliding a cassette tape into a boombox during lunch at Anaheim’s Loara High School.) Into adulthood, Stefani remained a fan of the English alternative-pop band, and reached out to collaborate with them. After initially declining, the band’s singer, Bernard Sumner ended up contributing backing vocals, while Peter Hook played bass on Stefani’s musical homage.
Listening to “The Real Thing,” one may not necessarily hear the direct influence of “Bizarre.” But in listening to “Bizarre,” and then returning back to “The Real Thing,” the similarities become more evident. For example:
The guitar riff in the outro of “Bizarre”; the intro to “The Real Thing.”
Melody: In “Bizarre” at the lyrics: “There’s no sense in telling me/The wisdom of the fool won’t set you free.” In “The Real Thing” at the aforementioned: “Heaven knows what will come next/So emotional, you’re so complex.”
Gwen Stefani’s “The Real Thing,” and essentially the Love. Angel. Music. Baby. period as a whole, marks one of the most important moments in Stefani’s career: Sonically, it’s a purposeful step from ska to synth pop and other sounds; visually, as seen on The Harajuku Lovers Tour, it’s a shift from rugged rock star to polished platinum-Marilyn pop star, complete with what would become Stefani’s signature: the retro red lip. “The Real Thing” serves as another way Stefani solidified herself as the real deal.
Red Lip Photo by John Shearer.
The Pop Zeal Project (Track 82): Jennifer Hudson: “Let It Be” (Hope For Haiti Now)
Arguably one of the best pop songs ever written, The Beatles’ “Let It Be” will forever be played when questions about life are easy to ask, yet the answers hard to find. Jennifer Hudson’s impassioned remake of this 1970 Lennon-McCartney track was created for the “Hope for Haiti Now” benefit telethon, which was organized to raise aid after a 2010 earthquake devastated the country. (Here it’s 11 years later and Haiti is recovering from yet another earthquake that just recently occurred.) Hudson takes the track to church, especially towards the end, with the backing vocalists providing angelic support. Hip-hop group, and “The Tonight Show with Jimmy Fallon” house band, The Roots supply the musical accompaniment, keeping the traditional guitar riff and Billy Preston-style electric keys. Both The Beatles and Hudson versions are equally soulful: the original tender, touching and subtle, with emphasis more on lyrical delivery and a larger rock-guitar sound, while Hudson’s cover, which provides heartfelt sincerity, is focused more on vocal expression. To delve further into the masterful Beatles original, click here.
Stop and Listen to “Stop for Nothing”
“Just get in and close the door” is what the driver encourages in “Stop for Nothing,” by the indie-pop duo, courtship. (lowercase and with a period). Dreamy vocals, airy electric guitar (one riff evoking ‘60s surf-music reverb) and deep bass lines (particularly the one after the above lyric) capture that carefree feeling of a beautiful day near the water or a sunny drive along the (California) coast.
Alive and Well: Lenny Kravitz: “Rock and Roll Is Dead”
Lenny Kravitz’s 1995 song, “Rock and Roll Is Dead” is irony at its finest. After its four-count intro, the gritty sounds of electric guitar come tearing in, along with Kravitz’s opening exclamation and Cindy Blackman’s commanding drums. These elements only proved that the genre was in no way on its last legs or six feet under. The song also served, in part, as a commentary on the preoccupation of public image and other distractions (“diamond rings”; “coke spoons”; “five hundred women in your bed”) over authentic musical talent (“You can’t even sing or play an instrument so you just scream instead…”). With Kravitz, Blackman and band still performing some 20 years later, the genre is certainly far from any need of resuscitation.