This is it, make no mistake where you are. The waiting is over, so don’t you run, no - wesley morrisĪnd then the gravy comes - archived recording Scraping the pan is the blackest thing you can do as a singer, and here is Kenny Loggins, as this white artist, doing it. Like he is scraping the bottom of a pan to get all of the good bits off of it before you pour the gravy in. When he sings the word miracle, he doesn’t sing, miracle! He goes, mirr - a - cle! archived recording Are you going to wait for a sign - your miracle. Giving Kenny Loggins plenty of time to gather himself. You think that maybe it’s over, only if you want it to be - wesley morris But what more can I say? wesley morrisĪnd then in the pre-chorus, Kenny Loggins disappears, and who shows up? Michael McDonald. wesley morrisĭoing this very light coo - archived recording “Sure” - Kenny Loggins is basically sing-whispering the verses in this song.
There’s a lot of percussion sort of going back and forth and around. It’s got a kind of loosely disco-like rhythm to it. There’ve been times in my life, I’ve been wondering why - wesley morris archived recordingĪnd the song in which I am hearing it the deepest, and strongest, and most powerfully, at least to me, standing in that kitchen, chopping those vegetables, was when Kenny Loggins’s “This is It” comes on. What I’m hearing in all of these songs is, basically, blackness. You can hear in somebody like Michael McDonald - archived recording There is something jazz-like in the syncopated music of something like Steely Dan. The great doo-wop harmonies of the ‘50s and ‘60s. Not quite a year since she went away - wesley morris All I want to do in the middle of the evening is hold you tight - wesley morris Which seems perfectly banal, has a really good beat, sort of builds to its chorus. I’m hearing things like “Rosanna” by Toto. All I want to do when I wake up in the morning is see your eyes - wesley morris Tried to see your point of view - wesley morrisĮvery song has something about it that is similar to the other songs. Goodbye stranger, it’s been nice - wesley morrisīut what I know I’m hearing is something bigger and deeper than that. The joke of yacht rock is that whoever invented it, and whoever’s making a playlist out of these songs, is basically saying that they’re inconsequential and that what’s in them doesn’t matter. It is like our soft rock-est period in American popular music. He came from somewhere back in her long-ago, the sentimental fool don’t see, trying hard to - wesley morris steal away, why don’t we - wesley morrisĪnd The Doobie Brothers, “What a Fool Believes.” archived recording I’m hearing things like - archived recording Summer breeze makes me feel fine - wesley morris How long has this been going on? wesley morris We’re talking about music made between the years of, I don’t know, I would say, like, 1975 to about 1983. Baby come back, any kind of fool could see - wesley morris It gives me plenty of time to really think about the songs I’m hearing. So I’m alone, just me, with the vegetables and the yacht rock.
I think I might have sent him on one, I don’t remember. At some point, Brett has to go run an errand. So he finds the yacht rock station in Pandora, which - I don’t know why or how he’s still a Pandora guy, with all due respect to Pandora. And I asked my friend Brett, who was cooking with me, can you put on some music? And he said, what do you want to listen to? And I said, have you ever heard of yacht rock? And he said, what? I said, yacht rock, have you ever heard of this? And he goes, no, I have not. This is “1619.” This week, Wesley Morris on the birth of American music. Friday, September 6th, 2019 nikole hannah-jonesįrom The New York Times Magazine, I’m Nikole Hannah-Jones. No wonder everybody is always stealing it. Transcript Episode 3: The Birth of American Music Hosted by Nikole Hannah-Jones, produced by Andy Mills and Annie Brown, and edited by Larissa Anderson and Lisa Chow For centuries, black music has been an expression of artistic freedom.
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