The other day NPR ran a story about Peter Gabriel's new album, Scratch My Back, on which he interprets songs from artists ranging from Arcade Fire to Randy Newman. That report gave the album high marks, saying it "ought to be the ultimate in inessential vanity projects — an album-length love letter to a star's impeccably curated record collection — but it flat-out isn't."
To be fair, I only listened to two tracks all the way through, and snippets of a handful more. I would have listened more, but I got bored. Gabriel has adopted a stripped-down approach that lets the lyrics stand out, but his lugubrious pace is dirgelike--and, yes, I know that lugubrious and dirgelike mean pretty much the same thing, but I just had to say it twice.
NPR thought Gabriel found new dimensions in Bon Iver's Flume, but I must have missed it. Perhaps, for me, it's a song that is so defined by Justin Vernon’s quirky falsetto that nobody else should even try. Tell me what you think:
The song that really put me off is Gabriel’s version of David Bowie’s Heroes. He’s stripped away the rhythmic drive that, to my ear, defines the song and makes it great. If you don’t fall asleep too quickly, you’ll hear a little Philip Glass-ian rhythm at the end of Gabriel's take, but it misses the point.
The first clip below is Gabriel’s version (with video in support of a Haiti relief effort). It’s followed by two versions by Mr. Bowie. The first of those is from a Bing Crosby Christmas special in 1977, of all things. I post it for the novelty value and because of Bowie's self-love demonstrated at about the 1:00 mark. The second clip is a live performance from (I’m guessing) the mid-1990s, when Bowie was at the pinnacle of coolness. Plus, he sings an alternate opening verse which is fun. I have not posted the concert version he signs in German.
Sunday, March 7, 2010
Wednesday, January 20, 2010
A Little More McGarrigle
In a tribute to Kate McGarrigle posted at Bloggorhea the other day, friend and colleague Mead Hunter embedded a video of Ms. McGarrigle performing her beautiful song “Talk to Me of Mendocino". That live performance with accompaniment from her talented children, Rufus and Martha Wainwright, led me to another version that was recorded as part of the BBC’s “Transatlantic Sessions” program--a show that brings noted musicians from both sides of the ocean together, with a particular focus on Scots-Irish musical influences. I’ve used videos from the sessions in past posts and recommend that you either get the DVDs or search YouTube for “Transatlantic Sessions” for more.
Here’s Kate McGarrigle singing "Talk to Me of Mendocino" with Karen Matheson, a Scottish singer known for her vocals with Capercaillie.
That led me to this version of “Farewell, Farewell”, which was written by Richard Thompson* and first appeared on Fairport Convention’s “Liege and Lief” album. I wore that album out by playing it hundreds of times in high school. I think it was originally my sister's album, but I may still have it squirreled away somewhere. This version of the song is beautifully rendered by Irish singer Mary Black, and it's hard to believe it wasn't written 300 years ago.
* Richard Thompson will be playing at the Aladdin Theatre on February 16th and 17th. He comes through Portland every few years, sometimes solo and other times with a band. We've had the privilege of seeing him a few times, including a memorable solo show under the summer sky at the Oregon Zoo. In another show at the Aladdin with band in two he let loose some fiery guitar solos.
Here’s Kate McGarrigle singing "Talk to Me of Mendocino" with Karen Matheson, a Scottish singer known for her vocals with Capercaillie.
That led me to this version of “Farewell, Farewell”, which was written by Richard Thompson* and first appeared on Fairport Convention’s “Liege and Lief” album. I wore that album out by playing it hundreds of times in high school. I think it was originally my sister's album, but I may still have it squirreled away somewhere. This version of the song is beautifully rendered by Irish singer Mary Black, and it's hard to believe it wasn't written 300 years ago.
* Richard Thompson will be playing at the Aladdin Theatre on February 16th and 17th. He comes through Portland every few years, sometimes solo and other times with a band. We've had the privilege of seeing him a few times, including a memorable solo show under the summer sky at the Oregon Zoo. In another show at the Aladdin with band in two he let loose some fiery guitar solos.
Tuesday, January 19, 2010
Goodbye Kate McGarrigle
The sad news came out this morning that Kate McGarrigle has died, succumbing to clear cell sarcoma, a form of cancer with which she was diagnosed in 2006. Kate and her sister Anna, wrote and performed as the McGarrigle Sisters, an accomplished folk duo emerging from Canada in the 1970s. Together, they are exemplars of the beauty of harmony sung by siblings. Kate may be better known to younger readers as the mother of Rufus and Martha Wainwright, children from her marriage to another great singer-songwriter, Loudon Wainwright III.
In her honor, here is Kate McGarrigle with her sister, son and a few notable colleagues, singing a sumptuous rendition of one of Stephen Foster’s most moving songs, “Hard Times Come Again No More.” You can play this one at my funeral.
UPDATE: Noah Adams at NPR has a new story on Kate McGarrigle, including a song link.
In her honor, here is Kate McGarrigle with her sister, son and a few notable colleagues, singing a sumptuous rendition of one of Stephen Foster’s most moving songs, “Hard Times Come Again No More.” You can play this one at my funeral.
UPDATE: Noah Adams at NPR has a new story on Kate McGarrigle, including a song link.
Sunday, January 17, 2010
The Heavy
Oh, hi there. Have you been waiting here long? I'm sorry, I just stepped out for a few months on an errand or two. Here we are just like old times. You're looking good. Can I get you something to drink? Maybe it's best if we pretend there hasn't been this gap in our relationship. Okay? Then let's get started.
My wife receives daily dispatches from NPR’s “Song of the Day” in her magical internets message box, and I appreciate her unerring knack for forwarding those that she knows I’m going to like. Tonight she sent me a selection from a UK band of which I was completely unaware: The Heavy. NPR's commentator called it “dirty basement soul” and described the song “Sixteen” as “what would happen if The Black Keys covered an unheard James Brown song and for some reason Tom Waits was there.” When what you really need is some good thumping bass, give this one a spin. The accompanying video is pretty cool too.
The post aptly compares “Sixteen” to Screamin’ Jay Hawkins’ “I Put a Spell on You”, saying “it takes it apart and reassembles it in a nominally different configuration. It sounds just like it, only more so.” I can certainly hear the influence of Mr. Hawkins influence. See what you think (after getting through 45 seconds of silliness):
Here is another video from The Heavy, with a tune titled , “That Kind of Man”. I can’t quite put my finger on it, but I’m hearing the riff from Rare Earth’s “I Just Want To Celebrate” combined with a falsetto from Marvin Gaye or Sly and the Family Stone.
My wife receives daily dispatches from NPR’s “Song of the Day” in her magical internets message box, and I appreciate her unerring knack for forwarding those that she knows I’m going to like. Tonight she sent me a selection from a UK band of which I was completely unaware: The Heavy. NPR's commentator called it “dirty basement soul” and described the song “Sixteen” as “what would happen if The Black Keys covered an unheard James Brown song and for some reason Tom Waits was there.” When what you really need is some good thumping bass, give this one a spin. The accompanying video is pretty cool too.
The post aptly compares “Sixteen” to Screamin’ Jay Hawkins’ “I Put a Spell on You”, saying “it takes it apart and reassembles it in a nominally different configuration. It sounds just like it, only more so.” I can certainly hear the influence of Mr. Hawkins influence. See what you think (after getting through 45 seconds of silliness):
Here is another video from The Heavy, with a tune titled , “That Kind of Man”. I can’t quite put my finger on it, but I’m hearing the riff from Rare Earth’s “I Just Want To Celebrate” combined with a falsetto from Marvin Gaye or Sly and the Family Stone.
Saturday, September 19, 2009
Some New Motown Soul Sounds
I just watched a video clip from Music Fest NW (MFNW) -- another big Portland festival which I’m too lame (or old) to actually do. The huge list of performers and venues is just too damned overwhelming, especially when combined with the prospect of big crowds. Anyway, at the end of said clip was a snippet of Mayer Hawthorne, a geeky-looking, young white guy from Ann Arbor, MI. I liked the tiny bit I saw on the video so headed over the YouTube to see what I could find.
Mayer Hawthorne reportedly started out as a hip-hop aficionado and DJ before developing a neo-soul sound straight out of Motown. He writes and performs songs that sound like they’re right out of the 1960’s. I like it. Here's a fun video of his song, "Maybe So, Maybe No."
And here is the official video for "Just Ain’t Gonna Work Out."
Also, the founder of Mayer Hawthorne's label, Stones Throw Records, goes by the moniker "Peanut Butter Wolf." You gotta like that.
Mayer Hawthorne reportedly started out as a hip-hop aficionado and DJ before developing a neo-soul sound straight out of Motown. He writes and performs songs that sound like they’re right out of the 1960’s. I like it. Here's a fun video of his song, "Maybe So, Maybe No."
And here is the official video for "Just Ain’t Gonna Work Out."
Also, the founder of Mayer Hawthorne's label, Stones Throw Records, goes by the moniker "Peanut Butter Wolf." You gotta like that.
Sunday, September 13, 2009
Fingerpickin' the Guitar
After four decades of playing the guitar, I think I've gotten pretty good at it. But then I listen the the really good players and am reminded that there is so much room to improve.
Yesterday morning, the Belmont Street Fair was kicked off with a set from Mary Flower, a fingerstyle guitar virtuoso who also plays a mean slide guitar and now resides in Portland. She teaches in Portland as well as through Skype, and has issued a few instructional DVDs. Here she is performing an original tune, "La Grippe."
After watching one of Mary Flower's lesson on ragtime guitar on YouTube, I wandered over to watch Chet Atkins play Black Mountain Rag using some form of open tuning:
After that, I have to end with the great Merle Travis playing "Cannonball Rag." Merle's playing has been a big influence on me (though I estimate I can only reach about 50% of his playing capacity, and that would be on a good day). If you're learning guitar, pay attention to the important part the thumb on the picking hand plays for all of theseplayers; the key to fingerstyle guitar is keeping a steady rhythm going on the bass strings. Also, check out how all three wrap their left thumbs over the top of the neck to fret bass notes. Merle Travis stands out by using his left thumb to fret several strings. Most standard guitar lessons don't teach the technique. Jimi Hendrix is another guitarist known for wrapping his thumb around the neck (though, in his case, it was the right thumb since he played left-handed).
I'll post more about Merle Travis in the future.
Yesterday morning, the Belmont Street Fair was kicked off with a set from Mary Flower, a fingerstyle guitar virtuoso who also plays a mean slide guitar and now resides in Portland. She teaches in Portland as well as through Skype, and has issued a few instructional DVDs. Here she is performing an original tune, "La Grippe."
After watching one of Mary Flower's lesson on ragtime guitar on YouTube, I wandered over to watch Chet Atkins play Black Mountain Rag using some form of open tuning:
After that, I have to end with the great Merle Travis playing "Cannonball Rag." Merle's playing has been a big influence on me (though I estimate I can only reach about 50% of his playing capacity, and that would be on a good day). If you're learning guitar, pay attention to the important part the thumb on the picking hand plays for all of theseplayers; the key to fingerstyle guitar is keeping a steady rhythm going on the bass strings. Also, check out how all three wrap their left thumbs over the top of the neck to fret bass notes. Merle Travis stands out by using his left thumb to fret several strings. Most standard guitar lessons don't teach the technique. Jimi Hendrix is another guitarist known for wrapping his thumb around the neck (though, in his case, it was the right thumb since he played left-handed).
I'll post more about Merle Travis in the future.
Monday, September 7, 2009
Celebrating Labor Day
For many of us, the first Monday of September signifies the end of summer and the start of another school year. We forget that the day was established to honor the contributions of hard-working folks. In the aftermath of the notorious 1884 Pullman Strike, President Grover Cleveland hoped to encourage political rapprochement with Labor by pushing through legislation making Labor Day a national holiday. Another motivation for establishing Labor Day in September was to distance it from May Day, which had already become identified as “International Worker’s Day.” In the U.S., we turned May 1st into “Loyalty Day.” And if all of this is sounding as familiar to you as it is to me, it’s because I posted something about it back in May to accompany a video of Merle Haggard in honor of May Day.
To celebrating the people who put the "work" in "workmanlike," I selected a few of my favorite pro-labor tunes, starting with the man hisself, Mr. Pete Seeger (may he win a Nobel Prize someday) singing “Which Side are You On?”
Let's look at that one from another angle; this is Natalie Merchant’s haunting version, which starts off with Florence Reece who wrote the song in 1930.
Now, here's Woody Guthrie singing “All of You Fascists Are Bound to Lose.” That's Sonny Terry on harmonica and providing the accompanying whoops and hollers). I suppose it's not strictly a union song, but he does talk about folks organizing.
Then there's Billy Bragg with his interpretation of the Guthrie tune:
I'll close with The Strawbs singing “Part of the Union” in 1973. The Strawbs formed in England in 1964 as a bluegrass band known as the Strawberry Hill Boys. In their early days, they accompanied Sandy Denny who went on to become a member of Fairport Convention and Fotheringay.
To celebrating the people who put the "work" in "workmanlike," I selected a few of my favorite pro-labor tunes, starting with the man hisself, Mr. Pete Seeger (may he win a Nobel Prize someday) singing “Which Side are You On?”
Let's look at that one from another angle; this is Natalie Merchant’s haunting version, which starts off with Florence Reece who wrote the song in 1930.
Now, here's Woody Guthrie singing “All of You Fascists Are Bound to Lose.” That's Sonny Terry on harmonica and providing the accompanying whoops and hollers). I suppose it's not strictly a union song, but he does talk about folks organizing.
Then there's Billy Bragg with his interpretation of the Guthrie tune:
I'll close with The Strawbs singing “Part of the Union” in 1973. The Strawbs formed in England in 1964 as a bluegrass band known as the Strawberry Hill Boys. In their early days, they accompanied Sandy Denny who went on to become a member of Fairport Convention and Fotheringay.
Sunday, August 2, 2009
Avett Brothers
Today I’ve been working on a post about beards for that other blog, Culture Shock. It’s a big hairy story that keeps growing, despite my efforts to trim it. While struggling to untangle my thoughts and comb through the prose, I've been listening to NPR’s live-streaming and archived videos from the Newport Folk Festival held this weekend (the 50th anniversary of that remarkable event). I heard some stunning performances, starting with a reminder of just how great Gillian Welch and David Rawlings are. She writes eloquent songs that sound as if they've been around forever. He accompanies her on a guitar that puts out a tone that I'd recognize in about three notes. Together they sing perfect harmonies. Joan Baez performed too. Half-a-century after her first performance at Newport, her voice is still crystalline and pitch perfect.
This post isn't about the Newport Folk Festival though. Since I began by writing about beards, this post is about the Avett Brothers, who are bearded (as are so many of the young people these days) and who put in a great set at the Festival. I first heard about the Avetts from my sisters and niece who saw them perform at the Hardly Strictly Bluegrass Festival in San Francisco's Golden Gate Park a few years ago. They became instant fans, as did I after listening to their recordings.
Here’s the official video of the boys singing “Murder in the City”--a sweet song about family love, and a relatively quiet tune for them. I particularly like the opening lyrics:
If I get murdered in the city, don’t go revengin’ in my name.
One person dead from such is plenty, no need to go get locked away.
I like the exuberance of the Avett Brothers. They just put it all out there. No wimpy, delicate whispering in delicate falsetto--not that there’s anything wrong with that, I just like someone who can belt out a tune with power from time-to-time. If the two real brothers and the honorary brother can do it harmony, all the better. If one is banging on a banjo while stomping on a kick drum, that’s good too. Here's a rambunctious little number called "Talk on Indolence." [Warning: Beards get shaved off in this video].
This next one is from one of those horrible morning news shows, with newscasters who don't quite know what to make of it all. This show is called "North Carolina Now!" The music starts at about 2:10 if you can't bear to watch the interview. The segment ends with the banal question, "What message do you want your listeners to take away from your music?"
This post isn't about the Newport Folk Festival though. Since I began by writing about beards, this post is about the Avett Brothers, who are bearded (as are so many of the young people these days) and who put in a great set at the Festival. I first heard about the Avetts from my sisters and niece who saw them perform at the Hardly Strictly Bluegrass Festival in San Francisco's Golden Gate Park a few years ago. They became instant fans, as did I after listening to their recordings.
Here’s the official video of the boys singing “Murder in the City”--a sweet song about family love, and a relatively quiet tune for them. I particularly like the opening lyrics:
If I get murdered in the city, don’t go revengin’ in my name.
One person dead from such is plenty, no need to go get locked away.
I like the exuberance of the Avett Brothers. They just put it all out there. No wimpy, delicate whispering in delicate falsetto--not that there’s anything wrong with that, I just like someone who can belt out a tune with power from time-to-time. If the two real brothers and the honorary brother can do it harmony, all the better. If one is banging on a banjo while stomping on a kick drum, that’s good too. Here's a rambunctious little number called "Talk on Indolence." [Warning: Beards get shaved off in this video].
This next one is from one of those horrible morning news shows, with newscasters who don't quite know what to make of it all. This show is called "North Carolina Now!" The music starts at about 2:10 if you can't bear to watch the interview. The segment ends with the banal question, "What message do you want your listeners to take away from your music?"
Friday, July 3, 2009
Happy 4th: Dave Alvin and The Blasters
I was a big fan of the Blasters back in the early-1980s. Brothers Phil and Dave Alvin and the rest of the boys knew how to lay down a neo-rockabilly beat that was perfect for speeding down the highway. I remember one speeding ticket in Utah that was set to the tune of "Marie Marie." Phil sang most of the leads, but Dave was the better songwriter. (That's Phil’s grimacing face featured so strikingly on the cover of the band’s 1980 eponymous album).After the Blasters faded from my playlist (never quite going away), I kept listening to Dave’s solo work. He still rocked, but his music had hint of country and blues as well. He even got a little folkie and acoustic with his album “Public Domain” (2000), on which he interpreted songs that are in … well the album title tells it.
Dave Alvin pairs a distinctive baritone voice with really sweet guitar playing. More than that, he writes songs that are great short stories. My son and I were fortunate to see him perform with his band, The Guilty Men, at a Zoo concert a few years ago. I had been teaching Chris to play the guitar and was glad to give him a chance to see a master player up close. The concert was held on a perfect summer evening much like tonight, and we found a spot close to the stage. That night, the band was one of the tightest units I’ve ever heard and Dave Alvin proved himself a masterful band leader. They played most of the classics from the Blasters songbook and many others from the “Ashgrove” album which had just been released.
That night at the zoo, they played this song, "The Fourth of July," which I dedicate to this independence day.
The next video is Dave Alvin singing “King of California.” I particularly like the way this one starts. Last year, I was playing and singing with a hobbyist band, “Bourbon Jockey.” We tried to keep it all loose, fun and not at all serious. We were serious about rehearsing once a week, but spent most of that time drinking wine and trying out new songs we were excited to play, rather than nailing down the list we already had. As the “front man,” it was my job to get us started off in the right key and playing the same song. My two compatriots were very forgiving. It’s nice to see that even Dave Alvin can start off in the wrong key sometimes.
Finally, this video of a live performance of “Out of Control” is long, but is a great example Dave Alvin’s guitar playing and storytelling. (The other guitar player is darned good too). I love the dynamics of the tune—the way the band lays back into the groove, then brings it all back up again. If you don’t listen to the whole thing, at least ff to 8:20 for a little musical surprise.
Saturday, June 27, 2009
Moonwalking
I can't remember what spurred me, but many months ago I went searching for video clips of "moonwalking"--the dance move that Michael Jackson famously popularized and is often credited with "inventing." I never got around to finishing my blog post on moonwalking, but the time seems right to do so now.
Michael Jackson was an amazing performer and creative genius, but he didn't invent the moonwalk. He was taught the move--called the "backslide"--by choreographer, Jeffrey Daniel, who reports that it took much practice for Jackson to get it just right. A fascinating NPR interview in which Mr. Daniel discusses Jackson's choreography and influences can be heard here. His recollection is that Jackson first saw the backslide when Daniel performed it at Disneyland with The Electric Boogaloos. Here's a video of Jeffrey Daniel bustin' some moves with Shalamar. The moonwalk comes in at about the 2:00 mark.
Levon Helm, the Band's remarkable drummer and singer (and my favorite member) wrote about gigging with Ronnie Hawkins and the Hawks in his early days, and mentioned that Hawkins had several dance moves including a moonwalk. The clip I found on YouTube has been removed for licensing reasons, but I managed to find this excerpt on MySpace. Ronnie Hawkins does a slow version of the moonwalk near the end. That's a young Levon Helm at the drumkit. I'll get around to a Levon Helm post one of these days.
Tap dancer Bill Bailey puts on an amazing performance in this 1955 clip, with a moonwalking exit at 2:05.
This video of Cab Calloway performing "Kickin’ the Gong Around" (1932) is great, great fun. At about 2:00 he throws in some dance steps, including something close to a moonwalk and a Michael Jackson spin.
Michael Jackson was an amazing performer and creative genius, but he didn't invent the moonwalk. He was taught the move--called the "backslide"--by choreographer, Jeffrey Daniel, who reports that it took much practice for Jackson to get it just right. A fascinating NPR interview in which Mr. Daniel discusses Jackson's choreography and influences can be heard here. His recollection is that Jackson first saw the backslide when Daniel performed it at Disneyland with The Electric Boogaloos. Here's a video of Jeffrey Daniel bustin' some moves with Shalamar. The moonwalk comes in at about the 2:00 mark.
Levon Helm, the Band's remarkable drummer and singer (and my favorite member) wrote about gigging with Ronnie Hawkins and the Hawks in his early days, and mentioned that Hawkins had several dance moves including a moonwalk. The clip I found on YouTube has been removed for licensing reasons, but I managed to find this excerpt on MySpace. Ronnie Hawkins does a slow version of the moonwalk near the end. That's a young Levon Helm at the drumkit. I'll get around to a Levon Helm post one of these days.
Tap dancer Bill Bailey puts on an amazing performance in this 1955 clip, with a moonwalking exit at 2:05.
This video of Cab Calloway performing "Kickin’ the Gong Around" (1932) is great, great fun. At about 2:00 he throws in some dance steps, including something close to a moonwalk and a Michael Jackson spin.
Sunday, June 7, 2009
Horses: A Thematic Post
This afternoon, we went to the Rose Garden Arena to watch a horse show. You can read all about it on my other blog.
In honor of the ponies, I decided to dig up a few thematic songs I like, starting with an obvious choice: Lyle Lovett with “If I Had a Boat.” My favorite line: But Tonto he was smarter, one day said, "Kemosabe. Kiss my ass, I bought a boat and I’m going out to sea."
Here’s a tune called “Horses” by Bonnie “Prince” Billy (Will Oldham). There’s another version on YouTube from his Lost Blues album, but I like this one best:
For a little different feel, how about if we close with Patti Smith with her groundbreaking song, “Horses”? This 1976 performances was recorded for the "Old Grey Whistle Test"--a great music show from the BBC. (The Multnomah Library has a few compilations from the show on DVD).
In honor of the ponies, I decided to dig up a few thematic songs I like, starting with an obvious choice: Lyle Lovett with “If I Had a Boat.” My favorite line: But Tonto he was smarter, one day said, "Kemosabe. Kiss my ass, I bought a boat and I’m going out to sea."
Here’s a tune called “Horses” by Bonnie “Prince” Billy (Will Oldham). There’s another version on YouTube from his Lost Blues album, but I like this one best:
For a little different feel, how about if we close with Patti Smith with her groundbreaking song, “Horses”? This 1976 performances was recorded for the "Old Grey Whistle Test"--a great music show from the BBC. (The Multnomah Library has a few compilations from the show on DVD).
Jeff Hanson (RIP)
I just read on the Mercury’s Blogtown that singer-songwriter Jeff Hanson died in a home accident at the age of 31. Months ago, I started, but never finished, a post after hearing Hanson sing on OPB or NPR. It was to have been a bigger post about what seems to be a trend of male singer-songwriters singing in impossibly high voices. Hanson’s voice could easily be mistaken for a female contralto, with a precise crystalline quality that was unworldly and that did not seem to fit the body from which is emanated. Maybe I’ll get back to that post one day.
In the meantime, here’s a video of “This Time it Will” from his record label, Kill Rock Stars:
In the meantime, here’s a video of “This Time it Will” from his record label, Kill Rock Stars:
Saturday, June 6, 2009
The Eels
This morning, while walking the dog, I heard an interview with Mark Oliver Everett (aka “Mr. E” or “A Man Called E” or just “E”) of The Eels, on occasion of the release of the band's new album “Hombre Loco: 12 Songs of Desire.”
At the risk of discrediting all pretense of credibility, I will cop to not having followed the Eels until now. The NPR interview with Scott Simon is a good one, including discussion of a documentary Mr. E has been working on about his father, Hugh Everett, a physicist known for his novel theories about parallel universes. (From the biography page on the Eels website: "A quantum physicist who authored The Many Worlds Theory, Everett inspired countless science fiction books, movies and Star Trek episodes with the concept of parallel universes. As a young teenager he exchanged letters with Albert Einstein, debating whether it was something random or unifying that held the universe together.")
Here's The Eels in the studio with “Prizefighter,” a song with the rough, rootsy sound toward which I tend to gravitate.
“That Look You Give That Guy” is an almost perfect pop song--something that would normally send me running in another direction. This one works. (Note to the Dog Walkerer: Look for the sad-eyed hound at 1:15).
At the risk of discrediting all pretense of credibility, I will cop to not having followed the Eels until now. The NPR interview with Scott Simon is a good one, including discussion of a documentary Mr. E has been working on about his father, Hugh Everett, a physicist known for his novel theories about parallel universes. (From the biography page on the Eels website: "A quantum physicist who authored The Many Worlds Theory, Everett inspired countless science fiction books, movies and Star Trek episodes with the concept of parallel universes. As a young teenager he exchanged letters with Albert Einstein, debating whether it was something random or unifying that held the universe together.")
Here's The Eels in the studio with “Prizefighter,” a song with the rough, rootsy sound toward which I tend to gravitate.
“That Look You Give That Guy” is an almost perfect pop song--something that would normally send me running in another direction. This one works. (Note to the Dog Walkerer: Look for the sad-eyed hound at 1:15).
Thursday, June 4, 2009
Tell Automatic Slim and Razor Totin' Jim: Koko Taylor is Dead
A Friend of the Blog just sent me news that blues singer Koko Taylor passed to the other side of the river today at age 80. Here's a link to Ms. Taylor's obituary in Rolling Stone.
Many many weeks ago, I started searching for covers of "Wang Dang Doodle" -- a classic party song written by Willie Dixon for Howlin' Wolf. (According to the Wikipedia entry, Dixon said it was the song he hated the most). As usual, I got sidetracked from that project.
The vocals and the video on this version by Koko Taylor are badly out of sync--in fact, I suspect that someone spliced the recorded version with some unrelated film footage. Little Walter is on harmonica. At about 1:48, you'll see Brownie McGhee and Sonny Terry standing around in the studio for some reason. Despite the sketchy quality, you get the idea of what a great artist Ms. Taylor was.
Here’s an oddly compelling version of "Wang Dang Doodle" performed by PJ Harvey.
I'll get back to more posts from Koko Taylor, Howlin' Wolf and Willie Dixon soon.
Many many weeks ago, I started searching for covers of "Wang Dang Doodle" -- a classic party song written by Willie Dixon for Howlin' Wolf. (According to the Wikipedia entry, Dixon said it was the song he hated the most). As usual, I got sidetracked from that project.
The vocals and the video on this version by Koko Taylor are badly out of sync--in fact, I suspect that someone spliced the recorded version with some unrelated film footage. Little Walter is on harmonica. At about 1:48, you'll see Brownie McGhee and Sonny Terry standing around in the studio for some reason. Despite the sketchy quality, you get the idea of what a great artist Ms. Taylor was.
Here’s an oddly compelling version of "Wang Dang Doodle" performed by PJ Harvey.
I'll get back to more posts from Koko Taylor, Howlin' Wolf and Willie Dixon soon.
Saturday, May 23, 2009
Tony Joe White
This morning, the song running through my head was Amy Winehouse’s “Rehab.” I don’t know what you think about Ms. Winehouse as an artist or a human being, and that song may have been over-played, but I still think it’s brilliant. But that’s not what this post is about.
Somewhere along the line and in my mind, “Rehab” made a segue into The Band’s “Rag Mama Rag.” Some melodic and/or rhythmic elements overlap on the two, so I was doing a mental mash-up. That’s not what this post is about either.
What this post is about is “Polk Salad Annie” and Tony Joe White. I meandered on YouTube from The Band and Amy Winehouse and ended up far from where I began – like getting lost in a swamp. And you know what you find in a swamp? Polk Salad.
Here’s Elvis singing “Polk Salad Annie” in full Vegas mode:
And just for the sheer fun of it (as if the preceding video wasn't plenty), here’s Tony Joe singing a duet of “Polk Salad” with Johnny Cash:
Tony Joe White’s biggest songwriting hits may have been “Polk Salad Annie” and “Rainy Night in Georgia.” He’s also written and produced for Tina Turner. For a country singer-songwriter, he’s can bring the funk. Here’s the incomparable Ms. Tina Turner singing Tony Joe’s “Steamy Windows.”
I’ll close with a more recent video of Tony Joe White doing a solo on “Who You Gonna Hoodoo Now?” His isn't the greatest singing voice, but that deep bass certainly has appeal.
Somewhere along the line and in my mind, “Rehab” made a segue into The Band’s “Rag Mama Rag.” Some melodic and/or rhythmic elements overlap on the two, so I was doing a mental mash-up. That’s not what this post is about either.
What this post is about is “Polk Salad Annie” and Tony Joe White. I meandered on YouTube from The Band and Amy Winehouse and ended up far from where I began – like getting lost in a swamp. And you know what you find in a swamp? Polk Salad.
Here’s Elvis singing “Polk Salad Annie” in full Vegas mode:
And just for the sheer fun of it (as if the preceding video wasn't plenty), here’s Tony Joe singing a duet of “Polk Salad” with Johnny Cash:
Tony Joe White’s biggest songwriting hits may have been “Polk Salad Annie” and “Rainy Night in Georgia.” He’s also written and produced for Tina Turner. For a country singer-songwriter, he’s can bring the funk. Here’s the incomparable Ms. Tina Turner singing Tony Joe’s “Steamy Windows.”
I’ll close with a more recent video of Tony Joe White doing a solo on “Who You Gonna Hoodoo Now?” His isn't the greatest singing voice, but that deep bass certainly has appeal.
Sunday, May 10, 2009
Two Mother's Day Videos + Bonus Ono
Don't read anything into these song selections. They are only what I found after doing a quick search for songs on the theme of mothers.
The first is a fun little tune from Scissor Sisters, "Take Your Mama Out," with the choice lyrics:
And for those readers who may not be feeling sentimental about dear old ma, here's John Lennon's tribute to his mother (and father).
The last one has nothing to do with mothers, but I'm sending this out to my friend Sharon because I know she'll appreciate seeing Yoko Ono knitting while blindfolded.
The first is a fun little tune from Scissor Sisters, "Take Your Mama Out," with the choice lyrics:
Gonna take your mama out all night
Yeah, we'll show her what it's all about
We'll get her jacked up on some cheap champagne
We'll let the good times all roll out
And for those readers who may not be feeling sentimental about dear old ma, here's John Lennon's tribute to his mother (and father).
The last one has nothing to do with mothers, but I'm sending this out to my friend Sharon because I know she'll appreciate seeing Yoko Ono knitting while blindfolded.
Saturday, May 9, 2009
A Tribute to Shatner
In honor of the release of the new Star Trek flick, and for all my geek friends, this is a tribute to William Shatner. A few years ago, Mr. Shatner teamed up with Ben Folds to put out an album of cover songs and originals, titled “Has Been.” While the album had all the over-the-top camp value we’ve come to love and expect from him, it also had some moments of brilliance and remarkable self-reflection. Most importantly, I think Mr. Shatner had a helluva good time poking fun at people, including himself.
Here’s the Shatner/Folds cover of Pulp’s “Common People,” which a brilliant mash-up artist combined with clips from the old Star Trek animated series.
On the same album, Mr. Shatner performed a work of slam poetry, “I Can’t Get Behind That.” Haven't we all felt like this at some point? The video is lip-synched by puppets (can puppets do that?), and ends a 2:56, so please ignore the final 45 seconds of silliness at the tail end.
Back to Pulp, how about this live version of "Common People"?
Here’s the Shatner/Folds cover of Pulp’s “Common People,” which a brilliant mash-up artist combined with clips from the old Star Trek animated series.
On the same album, Mr. Shatner performed a work of slam poetry, “I Can’t Get Behind That.” Haven't we all felt like this at some point? The video is lip-synched by puppets (can puppets do that?), and ends a 2:56, so please ignore the final 45 seconds of silliness at the tail end.
Back to Pulp, how about this live version of "Common People"?
Sunday, May 3, 2009
More Pentangle and the Lyke Wake Dirge
Commenting on my recent Pentangle post, friend of the Blog, Mead Hunter, praised that group’s stirring version of the “Lyke Wake Dirge” – a traditional English song about the soul’s travels after death. The verse is also a cautionary tale: Be charitable and kind to others, or karma’s gonna getcha.
You will find a nice “translation” of the text by Jeff Duntemann here.
I also found this beautiful a capella version by The Young Tradition, a mid-1960s folk revival trio that sang unaccompanied. For some time, they reportedly shared a house with John Renbourne and Bert Jansch from Pentangle. I don't remember having heard them, so this was a nice discovery:
You will find a nice “translation” of the text by Jeff Duntemann here.
I also found this beautiful a capella version by The Young Tradition, a mid-1960s folk revival trio that sang unaccompanied. For some time, they reportedly shared a house with John Renbourne and Bert Jansch from Pentangle. I don't remember having heard them, so this was a nice discovery:
Saturday, May 2, 2009
Happy Belated May Day!
Yesterday was May Day (aka “International Workers Day”), but I was too busy working my ass off to celebrate the achievements of the labor movement.
Did you know that the U.S. version of Labor Day was created in 1887 and scheduled in September to disassociate it from the more radical, leftist versions traditionally held on the first of May? And that in 1958 President Eisenhower proclaimed May 1st as “Loyalty Day” and “Law Day?” Loyalty Day was launched in 1921 as “Americanization Day” with the intent of reaffirming national loyalty and recognizing “the heritage of American freedom.” Law Day is pretty much the same thing, with a little extra boosterism for the rule of law as the foundation for democratic freedom. Who knew? By the way, we don't torture.
In honor of the labor force (currently employed or not), here’s Merle Haggard singing his tribute to the working stiff:
Did you know that the U.S. version of Labor Day was created in 1887 and scheduled in September to disassociate it from the more radical, leftist versions traditionally held on the first of May? And that in 1958 President Eisenhower proclaimed May 1st as “Loyalty Day” and “Law Day?” Loyalty Day was launched in 1921 as “Americanization Day” with the intent of reaffirming national loyalty and recognizing “the heritage of American freedom.” Law Day is pretty much the same thing, with a little extra boosterism for the rule of law as the foundation for democratic freedom. Who knew? By the way, we don't torture.
In honor of the labor force (currently employed or not), here’s Merle Haggard singing his tribute to the working stiff:
Friday, May 1, 2009
Pentangle
I’ve posted before about my affection for the British “folk/rock” movement from back in wayback time, when I was a laddie, ca. late 60s and 70s. I listened to them all: Fairport Convention, Incredible String Band, Pentangle. In the end (or "the final analysis" or "when all is said and done"), I think my favorite is Pentangle. Perhaps that’s a guitar player’s bias-- focusing on the brilliance of John Renbourne and Bert Jansch. But as I listen again now, I’m amazed at Danny Thompson’s virtuosity on the bass and Jacqui McShee’s crystalline voice, and the musicality of them as a group.
I like this first video because ... well because they are just so cool ...like the coolest little chamber ensemble ever. (The audience on the sidelines look like they're just high and groovin' on the vibe). I love seeing folks sing duets (think Gram Parsons and Emmylou Harris, or George Jones and Tammy Wynette) -- there's a connection that comes through the eye contact and the intimate listening that's required. I see it here between Bert Jansch and Jacqui McShee. The whole band feels like they are closely listening to each other. Look for the sweet instrumental break at 1:30 (John Renbourne on guitar). Did I mention that the drumming is simply perfect?
Next is one I remember well: "Wedding Dress." Again, they feel like a chamber ensemble. The drumming is not flashy, but absolutely perfect. And listen to what Danny Thompson’s doing with the bowed bass at 1:43. Beautiful!
I'll close with an instrumental piece from 1971, "In Time," in which Pentangle borders on cigarette enwreathed jazziness. Look for Danny Thompson’s bass break at 1:00 and then again at the close around 3:30.
If I'm sounding over-exhuberant here, it's because it's Friday night.
I like this first video because ... well because they are just so cool ...like the coolest little chamber ensemble ever. (The audience on the sidelines look like they're just high and groovin' on the vibe). I love seeing folks sing duets (think Gram Parsons and Emmylou Harris, or George Jones and Tammy Wynette) -- there's a connection that comes through the eye contact and the intimate listening that's required. I see it here between Bert Jansch and Jacqui McShee. The whole band feels like they are closely listening to each other. Look for the sweet instrumental break at 1:30 (John Renbourne on guitar). Did I mention that the drumming is simply perfect?
Next is one I remember well: "Wedding Dress." Again, they feel like a chamber ensemble. The drumming is not flashy, but absolutely perfect. And listen to what Danny Thompson’s doing with the bowed bass at 1:43. Beautiful!
I'll close with an instrumental piece from 1971, "In Time," in which Pentangle borders on cigarette enwreathed jazziness. Look for Danny Thompson’s bass break at 1:00 and then again at the close around 3:30.
If I'm sounding over-exhuberant here, it's because it's Friday night.
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