#the foundations

[myimaginaryradio]

Build Me Up Buttercup - The Foundations

[drakehavenelite]

Now Playing...

Artist: Em Zale

Title: Build Me Up, Buttercup

Album: Build Me Up, Buttercup Single

Played on: Tue Feb 25 2025 07:26:49 GMT-0600 (Central Standard Time)

#Em Zale #Female Fronted #BEWARE THE SIREN

[forgottenbones]

What IS a Number? As Explained by a Mathematician

[music-crush]

Clem Curtis

Happy birthday Curtis Clements aka Clem Curtis, lead vocalist for The Foundations!

[hit-song-showdown]

Year-End Poll #20: 1969

[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: The Archies, The 5th Dimension, The Temptations, The Rolling Stones, Sly and the Family Stone (x2), Tommy Roe, Tom Jones, The Foundations, Tommy James and the Shondells. End description]

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And now we reach the end of the 1960s. In the songs listed, we can see the psychedelic label applying to several genres, such as psychedelic pop and psychedelic soul. From psychedelic soul, we can easily see how disco will start to solidify in the coming years, but that genre will also derive from a wide variety of other subgenres. We'll get to that eventually.

The addition of Sugar Sugar also gives me a chance to talk about bubblegum music (or bubblegum pop, in this case). The term is both used to describe the genre from both the musical and the business side of its formation (I suppose it's similar to the modern use of "industry plant"), but I'll focus on the former. Essentially, bubblegum was used to classify music that was sounded sweet and chipper, but didn't appear to have the artistic integrity of other styles. The bubblegum pop of the late 60's and early 70's took a lot of influence from garage rock, but it was derided for not having that genre's sense of edge or scrappiness. This isn't my opinion, I'm just stating the origins of the term and how it was talked about at the time.

The shift from the 60's to the 70's is going to be a bit more apparent than the transitional stage between other decades. And here, we can see the foundations (hah.) of sounds that will come to define the following decade.

And with that, thank you for joining me through the 1960s. I'll see you all in the 70's.

[speed-demon-doodler]

Team super good people that would never do anything bad in their life (+Astarion)

Why Buttercup you might ask?

The Foundations - Build me up buttercup

Hippo campus - Buttercup

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Old party mentions 1

Old party mentions 2

[judahmaccabees]

[admiralgiggles]

I really, really enjoy when I can put a song to a photo.

[mymusicsucks]

"Waterloo" by ABBA and "Build Me Up Buttercup" by The Foundations have the same beat. Noticed this today while watching Mama Mia! (sigh) 🫣😳😔

[myimaginaryradio]

Build Me Up Buttercup - The Foundations

[mysongdaily]

‘, baby’

[socialistexan]

[krispyweiss]

Leslie Mendelson at Midland Theatre, Newark, Ohio, March 6, 2025

Solo and leaning on her intimate audience to clap, sing and whistle as requested, Leslie Mendelson went so far as to substitute onomatopoeia for Waddy Wachtel’s studio solo on “I Gotta Go.”

“Why do I sound like a cat when I do that?” she said to laughter when it ended.

Mendelson - and the crowd - were on stage at Newark, Ohio’s, Midland Theatre for her March 6 Stage Door Cabaret appearance on a makeshift bandstand facing 120 fans at 30 onstage tables for four. She reveled in the “different and unique” experience of playing in front of an exterior brick wall that held a fire extinguisher, an electrical box and other necessities and noted her mother was born in Newark, N.J.

“Aww, it’s like home,” Mendelson said before beginning the first of two sets - 40 and 50 minutes, respectively - with “The Good Life,” which, like many of the 15 selections, came from 2024’s Peter Asher-produced After the Party. As did “I Know a Lot of People but I Don’t Have Many Friends,” “The Good Life” represented Mendelson’s love for Willie Nelson and his fellow outlaws and found her playing Trigger-inspired licks as she made space for the audience to sing and whistle at her command.

Later, she paid homage to the Ohio-born Chrissie Hynde, “one of my favorite singers of all time,” and opened set No. 2 with “Don’t Get Me Wrong.”

Though Mendelson is not a folk artist, this was 100 percent a folk concert as the musician interacted with the audience and regaled them with tales of touring with Roger Daltrey and offending a London audience by asking if they were tired of Beatles music.

Clad in black pants with a red-and-black striped top under her black blazer, Mendelson perched on a stool and accompanied herself on guitar and harmonica as she revisited her four-album discography and other cuts. To that end, Mendelson handled Jackson Browne’s parts in presenting their collaborative 2019 song “A Human Touch” and humorously imitated Bob Weir as she reprised their “Weir Here” duet on “Blue Bayou.”

She was a band unto herself on “Jericho,” coaxing rhythm and lead from her acoustic guitar with deft finger work and throwing her head back for extra vocal power on the chorus. Mendelson playfully flashed devil horns during “Rock and Roll on the Radio” and tacked a bit of the Foundations’ “Baby Now that I’ve Found You” into “I Know You Better than That” as she copped to lifting the chord progression of the former to create the latter.

The sold-out audience happily sung harmony on the Bee Gee’s “To Love Somebody,” clapped along to “Easy Love” and gave a standing ovation after the show-closing “All Come Together.”

And on this night it all did come together to create a magical live-music experience.

Grade card: Leslie Mendelson at Midland Theatre - 3/6/25 - A

3/7/25