Archive for the ‘music_history’ tag
Some additional reading for you, because I care…
Multiple cups of coffee a day linked to lower risk of premature death The health benefits were seen whether people drank caffeinated or decaffeinated coffee.
Researchers have now linked three to five cups of coffee per day to an overall lower risk of premature death, according to a new review of data on more than 200,000 health professionals.
The lowered risk was associated with a moderate amount of coffee, as opposed to those who drink only a cup or two, or no coffee at all, who did not see the health benefits. When researchers adjusted for those who smoke cigarettes, the benefits of all that coffee were even greater.
The idea that coffee can prevent the development of adverse health conditions, as studies just this year have shown it is good for brain health in older people, cancels out liver damage from over-consumption of alcohol, and may improve colon cancer survival.
(click here to continue reading Multiple cups of coffee a day linked to lower risk of death – UPI.com.)
Ben Carson’s remarks on foreign policy have repeatedly raised questions about his grasp of the subject, but never more seriously than in the past week, when he wrongly asserted that China had intervened militarily in Syria and then failed, on national television, to name the countries he would call on to form a coalition to fight the Islamic State.
Faced with increasing scrutiny about whether Mr. Carson, who leads in some Republican presidential polls, was capable of leading American foreign policy, two of his top advisers said in interviews that he had struggled to master the intricacies of the Middle East and national security and that intense tutoring was having little effect.
“Nobody has been able to sit down with him and have him get one iota of intelligent information about the Middle East,” said Duane R. Clarridge, a top adviser to Mr. Carson on terrorism and national security. He also said Mr. Carson needed weekly conference calls briefing him on foreign policy so “we can make him smart.”
(click here to continue reading Ben Carson Is Struggling to Grasp Foreign Policy, Advisers Say – The New York Times.)
Clarridge was pardoned (in the middle of his trial) by President George H.W. Bush in that historic exercise in ass-covering on the way out the door in 1992. After that, he left the CIA and went into business for himself in the shadow world of private spookdom.
Hatching schemes that are something of a cross between a Graham Greene novel and Mad Magazine’s “Spy vs. Spy,” Mr. Clarridge has sought to discredit Ahmed Wali Karzai, the Kandahar power broker who has long been on the C.I.A. payroll, and planned to set spies on his half brother, the Afghan president, Hamid Karzai, in hopes of collecting beard trimmings or other DNA samples that might prove Mr. Clarridge’s suspicions that the Afghan leader was a heroin addict, associates say. So, yeah, maybe the Doctor knows what he’s doing here.
(click here to continue reading Ben Carson Lacks Foreign Policy Knowledge – Ben Carson Can’t Grasp Middle East.)
Cats are notoriously picky eaters—and one reason may be that they’re fine-tuned to detect bitterness. Cats can’t taste sweetness, but they have a dozen genes that code for bitter taste receptors. A recent study from researchers at the Monell Chemical Senses Center in Philadelphia and Cincinnati Children’s Hospital finds that at least seven of these bitter taste receptors are functional, indicating that cats are very sensitive to those tastes.
In order to figure out whether the 12 known bitterness receptor genes actually cause cats to taste bitterness, the researchers inserted these genes into human cells and figured out which ones responded to chemicals that cause people to taste bitterness (since cats can’t tell us when something is bitter).
(click here to continue reading Why Is Your Cat Such a Picky Eater? Blame Bitter Taste Receptors | Mental Floss.)
There’s the president of the United States, and then there’s the person who happens to be the President of the United States.
Bill Clinton served for eight years, but we were always more intrigued by Bill Clinton the Person—a magnetic charmer once described by Chris Rock as “a cool guy, like the president of a record company.” Clinton’s charisma defined his presidency, for better and for worse. He couldn’t always harness it. He couldn’t stop trying to win everyone over, whether it was a 60 Minutes correspondent, 500 powerful donors in a crowded banquet hall, or a fetching woman on a rope line.
If Clinton acted like someone who ran Capitol Records, Obama—both the person and the president—carries himself like Roger Federer, a merciless competitor who keeps coming and coming, only there’s a serenity about him that disarms just about everyone. At one point during the hour I spent interviewing him at the White House this fall, he casually compared himself to Aaron Rodgers, and he wasn’t bragging. Obama identified with Rodgers’s ability to keep his focus downfield despite all the chaos happening in front of him. That’s Obama’s enduring quality, and (to borrow another sports term) this has been his “career year.”
(click here to continue reading Obama and Bill Simmons: The GQ Interview | GQ.)
Archaeologists in Israel have kind of a great problem. While building a visitor center to house the Lod Mosaic, a magnificent work from 300 AD discovered near the construction site in 1996, workers uncovered another ancient treasure: a 1,700-year-old Roman mosaic.
The new find measures an impressive 36 feet by 42 feet, and would have likely paved the courtyard floor in a large Roman or Byzantine-era villa. The Israel Antiquities Authority unveiled photos of the floor, which contains imagery of fish, hunting animals, birds, and vases, this week in the Israel National News, which called it “breathtaking” and “among the most beautiful” mosaics in the country.
(click here to continue reading Hidden Ancient Mosaic Discovered in Israel – artnet News.)
We have two possibilities before us. First, that House Republicans purposefully stacked their Benghazi! select committee with the dumbest, most inept, most incompetent twits they could round up. Or second, that they didn’t do that and the whole sodding Congress is just this dumb.
Republican Rep. Lynn Westmoreland, a member of the House Select Committee On Benghazi, said former Secretary of State Hillary Clinton laid “a trap” for the committee by making her Oct. 22 appearance go “as long as possible.” Mind you, of all the people in that hearing room, the one least able to control how long the committee would sit on their behinds and ask former Secretary of State Hillary Clinton long, sometimes bizarre questions was former Secretary of State Hillary Clinton. She was not allowed to just pick up and go home, even after the first four, six, eight, and 10 hours of questions proved that Republicans had absolutely no new information or questions or theories that might require her actual presence there. Republicans could have, say, limited their robust speechifying and instead asked a few more actual questions. They could have paid attention to their own rules on how long questions could go on, and perhaps gently persuaded the worst of the blowhards to give it a rest when their time had officially expired.
(click here to continue reading Rep. Westmoreland: Hillary Clinton laid ‘a trap’ for Benghazi committee by answering their questions.)
Not one of them can win, but one must. That’s the paradox of the race for the 2016 Republican presidential nomination, fast becoming the signature event in the history of black comedy.
Conventional wisdom says that with the primaries and caucuses rapidly approaching, front-running nuts Donald Trump and Dr. Ben Carson must soon give way to the “real” candidates. But behind Trump and Carson is just more abyss. As I found out on a recent trip to New Hampshire, the rest of the field is either just as crazy or as dangerous as the current poll leaders, or too bumbling to win.
Disaster could be averted if Americans on both the left and the right suddenly decide to be more mature about this, neither backing obvious mental incompetents, nor snickering about those who do. But that doesn’t seem probable.
Instead, HashtagClownCar will almost certainly continue to be the most darkly ridiculous political story since Henry II of Champagne, the 12th-century king of Jerusalem, plunged to his death after falling out of a window with a dwarf.
(click here to continue reading The GOP Clown Car Rolls On | Rolling Stone.)
Beginning in 2012, four states and the District of Columbia have voted to legalize marijuana. By this time next year, that number could well double, and then some. National polls consistently show majorities in favor of legalization, with a recent Gallup poll showing 58% support—tied for the highest level in the poll’s history.
That doesn’t mean legalization is inevitable in any given state, as the case of Ohio demonstrated earlier this month. There an initiative led by non-movement investors who sought monopolistic control of commercial pot cultivation got trounced despite spending millions of dollars.
But the Ohio result was probably a fluke, a convergence of a number of factors, including tone-deaf initiative organizers, a flawed initiative, a widely criticized mascot, and the fact that it was an off-off-year election with low voter turnout. There is no reason to believe that legalization initiatives likely next year in other states will be defeated just because the Ohio effort went down in flames.
At this point, it looks like six states are likely to legalize weed through the initiative process next year, with those efforts at varying stages, and a couple more could do it through the legislative process.
(click here to continue reading The next 8 states that could legalize weed within the year – Salon.com.)
I don’t have terabytes worth of music, but I have a lot, and I’m frequently annoyed with iTunes. However, I keep with it because it syncs to my iPhone/iPad…
AT THE START of the millennium, Apple famously set out to upend the music business by dragging it into the digital realm. The iTunes store provided an easy way of finding and buying music, and iTunes provided an elegant way of managing it. By 2008, Apple was the biggest music vendor in the US. But with its recent shift toward streaming media, Apple risks losing its most music-obsessed users: the collectors.
Most of iTunes’ latest enhancements exist solely to promote the recommendation-driven Apple Music, app downloads, and iCloud. Users interested only in iTunes’ media management features—people with terabytes of MP3s who want a solid app to catalog and organize their libraries—feel abandoned as Apple moves away from local file storage in favor of cloud-based services. These music fans (rechristened “power users” in the most recent lingo) are looking for alternatives to Apple’s market-dominating media management software, and yearn for a time when listening to music didn’t require being quite so connected.
(click here to continue reading Apple’s iTunes Is Alienating Its Most Music-Obsessed Users | WIRED.)
If you only own the original studio release of John Coltrane’s “A Love Supreme” (recorded on December 9, 1964, and issued in February, 1965), then the new three-disk release “A Love Supreme: The Complete Masters” of the classic album by Coltrane’s classic quartet will be a revelatory experience.
It’s a revelation because of one particular set, one that many Coltrane fans have heard before: the live performance by the quartet from Juan-les-Pins, France, on July 26, 1965, of the entire suite of “A Love Supreme.” This set was also included the “deluxe” two-disk edition of “A Love Supreme,” issued by Impulse! Records, in 2002. By making that performance readily available to the general listener, Impulse! sparked a major advance in the appreciation, the understanding—and the love—of “A Love Supreme.” The merits of that recording shed particular light on the importance—and, strangely, the limits—of the original studio recording of “A Love Supreme.”
(click here to continue reading Seeing Through “A Love Supreme” to Find John Coltrane – The New Yorker.)
Despite the intelligence community’s attempts to blame NSA whistleblower Edward Snowden for the tragic attacks in Paris on Friday, the NSA’s mass surveillance programs do not have a track record — before or after Snowden — of identifying or thwarting actual large-scale terrorist plots.
CIA Director John Brennan asserted on Monday that “many of these terrorist operations are uncovered and thwarted before they’re able to be carried out,” and lamented the post-Snowden “handwringing” that has made that job more difficult.
But the reason there haven’t been any large-scale terror attacks by ISIS in the U.S. is not because they were averted by the intelligence community, but because — with the possible exception of one that was foiled by local police — none were actually planned.
And even before Snowden, the NSA wasn’t able to provide a single substantiated example of its surveillance dragnet preventing any domestic attack at all.
(click here to continue reading U.S. Mass Surveillance Has No Record of Thwarting Large Terror Attacks, Regardless of Snowden Leaks.)
Israeli Prime Minister Benjamin Netanyahu and other top government officials could be detained if they step foot in Spain after a judge there issued an arrest warrant stemming from a deadly 2010 Gaza flotilla raid, but Israel is dismissing the move as a “provocation.”
In the 2010 incident, a group of human rights activists — which included members affiliated with the Muslim Brotherhood, according to authorities – boarded several aid ships to try and break an Israeli naval blockade of the Gaza Strip, the Jerusalem Post reports.
(click here to continue reading Spain issues arrest warrant for Israeli Prime Minister Netanyahu over deadly 2010 flotilla raid | Fox News.)
In its article, the AP also wrote, “The archive had more detailed data for children and teenagers, showing 70 from those age groups killed by firearms since the Democratic candidates debated Oct. 13 – not 200 as [Clinton] claimed.”
Again, this criticism of Clinton is erroneous because it treats the Gun Violence Archive as a comprehensive source.
The botched AP fact check was subsequently touted by the National Rifle Association.
(click here to continue reading AP Botches Fact Check Of Hillary Clinton’s Accurate Statement About Gun Deaths | Blog | Media Matters for America.)
Apologies if you are one of the few brave and foolhardy souls who still subscribe to my daily newsletter. Your email contained a bunch of gobbledygook links today. Some background: before Twitter and Facebook, there was a social URL-sharing network called Delicious. Users of Delicious shared snippets from webpages, which is sort of how I still use Twitter1
Delicious was, and still remains, integrated with Google’s long neglected RSS engine, Feedburner. In other words, if you subscribe to my email newsletter, or use my blog’s RSS feed, you see Delicious links, Flickr images as well as occasional actual blog posts like this one merged together. But2 yesterday I started using a new RSS reading app. NetNewsWire has been my RSS reading app of choice since 2002, but it is feeling increasingly neglected, without much integration into the web services of 2015, so I purchased a competitor, Reeder, and lo-and-behold, posting directly to Delicious is an option! If I can press a button and post to Delicious, I’ll use the feature more frequently. With NetNewsWire, posting to Delicious meant logging in the site, copying and pasting the URL, copying and pasting the snippet, adding tags – about the same amount of effort would yield an actual blog post. With Reeder, I just press a button, and if I want, add tags. Much simpler. Except as I discovered this morning, the Delicious post gets mangled somewhere between Feedburner and Reeder. Basically, the URL is not properly formatted and looks like
The%20Great%20Controversy%3A%20Ben%20Carson%2C%20 Ellen%20G.%20White%2C%20and%20Seventh-day%20Adventism [del.icio.us] Posted: 16 Nov 2015 12:33 PM … [del.icio.us]
Not acceptable. Oh well.
Here are the five snippets I wanted to post, but didn’t have the stamina nor time to annote/respond to. One snippet I did manage to later turn into a blog post, but I’m including it here anyway …
The Great Controversy: Ben Carson, Ellen G. White, and Seventh-day Adventism
Ben Carson has famously said that a Muslim who wishes to become president of the United States must “reject the tenets of Islam.”
But what about members of his own church — The Seventh-day Adventist church? Must they reject its doctrines in order to become president?
The SDA church was co-founded by Ellen G. White, who was its original leader and prophet. She is to Adventists what Mary Baker Eddy, Joseph Smith, and Muhammad are to Christian Scientists, Mormons, and Muslims, respectively (not respectfully). And her book, The Great Controversy, corresponds to Science and Health, the Book of Mormon, and the Quran. And it fully deserves to be among them, as one of the the worst books ever written.
Someone should ask Dr. Carson if he believes in Ellen White’s prophecy in The Great Controversy with regard to the “big role” that the United States will play. Specifically, is the United States the two-horned beast that speaks like a lion of Revelation 13:11?
If so, he should renounce that belief (along with the rest of White’s “prophecy”) before anyone should consider voting for him for president.
(click here to continue reading Dwindling In Unbelief: The Great Controversy: Ben Carson, Ellen G. White, and Seventh-day Adventism.)
Björk on Iceland: ‘We don’t go to church, we go for a walk’ Björk used to walk across the tundra singing at the top of her lungs. John Grant left America for its rocky grandeur and Sigur Rós’s music captures its isolation. What is it about the Icelandic landscape that hypnotises artists?
(click here to continue reading Björk on Iceland: ‘We don’t go to church, we go for a walk’ | Music | The Guardian.)
Cornel West tears into hypocritical “sister Clinton” while filling in for Bernie Sanders at an Iowa BBQ “Democratic socialism isn’t some kind of alien element. It’s organic and indigenous in the history of this nation.”
West turned to Sanders’ main opponent for the Democratic ticket, claiming that “we have to be honest about our dear sister Hillary Clinton — when it comes to my gay brothers and my lesbian sisters, one year, she says ‘marriage is just male and female.’ A few years later, she says she’s ‘evolved.’ I say, ‘I’m open to evolution.’
“But there’s certain issues that should cut so deep,” he concluded, “that you don’t need to be a thermometer — you can be a thermostat!”
(click here to continue reading Cornel West tears into hypocritical “sister Clinton” while filling in for Bernie Sanders at an Iowa BBQ – Salon.com.)
The Velvet Underground – see the video for Some Kinda Love (live) The new Complete Matrix Tapes box set is a brilliant insight into one of rock’s greatest bands – and we’ve got this track from the set
This Friday sees the release of The Complete Matrix Tapes, bringing together all the recordings made of the Velvet Underground at the San Francisco venue on 26 and 27 November 1969. Heard in their entirety, the recordings are revelatory – you get to hear wildly different versions of the same songs, Lou Reed chatting and joking with his audience, and a rock band exploring the limits of their performance – right up to a 38-minute version of Sister Ray.
While most of the 42 tracks on the four-disc box have been heard before, nine are exclusives. What’s more, the tracks previously heard on The Bootleg Series, Vol 1: The Quine Tapes were in nothing like this level of fidelity. In a world of box sets packed with unnecessary fillers, this one is anything but.
(click here to continue reading The Velvet Underground – see the video for Some Kinda Love (live) | Music | The Guardian.)
Ryan Gosling confirms role in Blade Runner sequel
The actor will star alongside Harrison Ford in the sequel to the sci-fi classic
he offered this fairly long-winded account of where Deckard has been living following the events of the original film:
We decided to start the film off with the original starting block of the original film. We always loved the idea of a dystopian universe, and we start off at what I describe as a ‘factory farm’ – what would be a flat land with farming. Wyoming. Flat, not rolling – you can see for 20 miles. No fences, just plowed, dry dirt. Turn around and you see a massive tree, just dead, but the tree is being supported and kept alive by wires that are holding the tree up. It’s a bit like Grapes of Wrath, there’s dust, and the tree is still standing. By that tree is a traditional, Grapes of Wrath-type white cottage with a porch. Behind it at a distance of two miles, in the twilight, is this massive combine harvester that’s fertilizing this ground. You’ve got 16 Klieg lights on the front, and this combine is four times the size of this cottage. And now a spinner [a flying car] comes flying in, creating dust. Of course, traditionally chased by a dog that barks, the doors open, a guy gets out and there you’ve got Rick Deckard. He walks in the cottage, opens the door, sits down, smells stew, sits down and waits for the guy to pull up to the house to arrive. The guy’s seen him, so the guy pulls the combine behind the cottage and it towers three stories above it, and the man climbs down from a ladder – a big man. He steps onto the balcony and he goes to Harrison’s side. The cottage actually [creaks]; this guy’s got to be 350 pounds. I’m not going to say anything else – you’ll have to go see the movie.
(click here to continue reading Ryan Gosling confirms role in Blade Runner sequel | Consequence of Sound.)Footnotes:
Silence rules everything around me…
Recently, I was alone for an afternoon, without any pressing tasks to complete, so I decided to pull out my turntable1 and listen to a few records. I listen to music all the time, and have a vast, horder-esque iTunes library, but I’m often too lazy to play records. I sat in a room I call The Lounge, and spun a half dozen LPs. Some I only wanted to hear a song or two from, some I listened to in their entirety, both sides.
Such a different experience, as I’m sure you’d concur. I won’t go into the debate here over sound fidelity, and warmth, and all that. In honesty, I don’t want to give up the convenience of being able to walk around with hundreds of my favorite albums in my pocket, or the ability to instantly play a song in my car. Vinyl does wear out, and there is that crackling, popping sound that does not exist in digital versions.
The vinyl experience is different in other ways. I didn’t realize when I purchased my turntable, but it doesn’t have an automatic shut-off feature. In other words, I need to be actively listening or else the album will continue to spin for hours, wearing out the turntable’s needle. I’ve incorporated this negative feature into my ritual of listening to records. I put the needle down on the song I want to hear2, sit down holding the album jacket, study the cover art, read the liner notes, and listen with my full attention. I have the option of listening via3 desk top speakers, or a4 headphone amplifier with comfortable over-the-ear headphones.5
Curating playlists on my Mac is one of my hobbies, creating mixes of songs and albums based on topics and phrases, or genres, or concepts, or years, or events; but that means the music never stops playing. In contrast, when a record is finished, there is silence. Silence until the next LP is selected, or until the current record gets flipped over. I guess one could say listening to a CD would be similar, but my first (and only!) CD player was a six disc shuffler – again, when music was on, it kept going and going, filling up the nooks and crannies of available aural space.
I was surprised at how significant the empty spaces were, especially on a quiet afternoon.
These are the records I played6
This morning’s edition of Earworm Theatre is Blue from the Jayhawks 1995 album, Tomorrow the Green Grass.1
On a semi-regular basis, I wake up with a song or piece of music playing in my head, echoing in my brain. The song won’t leave until I play it, which depending on how my morning goes, could be an hour or so. The earworm occurs not nightly, not weekly, but several times a year. Frequently, but not always, a song I haven’t heard in a while, often with lyrics that have some resonance to something that happened recently. My subconscious trying to be helpful, in other words. This morning’s edition, Blue, was more about melody however, since I couldn’t even remember the lyrics unaided. I love how the chorus and bridge are harmonized. My voice cracks when I try to hit those kind of high notes…
Here are the lyrics, for reference, since I looked them up…
Where have all my friends gone
They’ve all disappeared
Turned around maybe one day
You’re all that was there
Stood by on believing
Stood by on my own
Always thought I was someone
Turned out I was wrong
And you brought me through
And you made me feel so blue
Why don’t you stay behind
Why don’t you stop
And look at what’s going down
If I had an old woman
She’d never sell me a lie
It’s hard to sing with someone
Who won’t sing with you
Give all of my mercy
Give all of my heart
Never thought that i’d miss you
That i’d miss you so much
And you brought me through
And you made me feel so blue
Why don’t you stay behind
Why don’t you stop
And look at what’s going down
All my life (staying while)
I’m waiting for (staying while)
Someone I could (waiting around)
Show the door (now that I’m blue)
But nothing seems to change
(That I’m blue from now on)
You come back that month
Why don’t you stay behind
Why don’t you
Why don’t you stay behind
Why don’t you
Why don’t you stay behind
Why don’t you stop
And look at what’s down
but my subconscious wasn’t trying to send me a coded message, I don’t think, but rather a way of harmonizing. Or something, lines of communication between conscious brain and subconscious brain are notoriously fickle.
I did hear Blue recently; I was singing it to one of my cats, who wouldn’t harmonize with me:
and for your amusement, here is a very young Jon Stewart introducing a live version of Blue, circa 1995Footnotes:
- and yes, I know theater ≠ theatre. Blame my Canadian public schooling… [↩]
A few moments ago, the Cowboy Junkies best album1 came on my stereo, The Trinity Session, and I listened to it intently for the first time in a long time. Such a timeless LP, and of course, hearing the album triggered a bit of reverie down my own memory lanes and paths. I recall many late nights putting this album on my turntable, and being enveloped by its mood, as I drank red wine with some people who have since faded from my life.
Per Wikipedia, The Trinity Session was released in 1988, but I don’t think I purchased a copy2 until 1989 or even 1990. I’ve never been enthusiastic towards opiate-induced dream stupors, but I’ve been around enough people who were, and the slow-placed, languorous tempo of the Trinity Session evokes a similar state of blissful melancholy.
Thom Jurek writes:
The Trinity Session was recorded in one night using one microphone, a DAT recorder, and the wonderful acoustics of the Holy Trinity in Toronto. Interestingly, it’s the album that broke the Cowboy Junkies in the United States for their version of “Sweet Jane,” which included the lost verse. It’s far from the best cut here, though. There are other covers, such as Margo Timmins’ a cappella read of the traditional “Mining for Gold,” a heroin-slow version of Hank Williams’ classic “I’m So Lonesome I Could Cry,” “Dreaming My Dreams With You” (canonized by Waylon Jennings), and a radical take of the Patsy Cline classic “Walkin’ After Midnight” that closes the disc. Those few who had heard the band’s previous album, Whites Off Earth Now!!, were aware that, along with Low, the Cowboy Junkies were the only band at the time capable of playing slower than Neil Young and Crazy Horse — and without the ear-threatening volume. The Timmins family — Margo, guitarist and songwriter Michael, drummer Peter, and backing vocalist and guitarist John — along with bassist Alan Anton and a few pals playing pedal steel, accordion, and harmonica, paced everything to crawl.
(click here to continue reading The Trinity Session – Cowboy Junkies | Songs, Reviews, Credits | AllMusic.)
The lyrics and instrumentation of the album were lifted from the classic country groups the band was exposed to, and the song “200 More Miles” was written in reference to their life on the road.
As they had on Whites, the band wanted to record live with one stereo microphone direct to tape—it is stated on the album cover that the recording was made on 2-track RDAT using one single Calrec Ambisonic Microphone.
Peter Moore was enlisted and suggested the Church of the Holy Trinity in Toronto for its natural reverb. To better persuade the officials of the historic church, the band claimed to be The Timmins Family Singers and said they were recording a Christmas special for radio. The session began on the morning of 27 November 1987. The group first recorded the songs with the fewest instruments and then the songs with gradually more complex arrangements. In this way Moore and the band were able to solve acoustic problems one by one. To better balance Margo Timmins’s vocals against the electric guitars and drums, she was recorded through a PA system that had been left behind by a previous group. By making subtle changes in volume and placement relative to the microphone over six hours, Moore and the band had finally reached the distinctive sound of the album by the time the last of the guest musicians arrived at the church.
The band was unable to rehearse with most of the guest musicians before the day of the session. Considering the method of recording and time constraints, this could have been disastrous for the numbers which required seven or more musicians, but after paying a security guard twenty-five dollars for an extra two hours, the band was able to finish, and even recorded the final song of the session, “Misguided Angel”, in a single take.
Contrary to popular myth, the album was not entirely recorded in one day. In the hustle of the first recording session, the band forgot to record “Mining for Gold”. Margo and Moore recorded the song a few days later during the Toronto Symphony Orchestra’s lunch break.
Sleeve notes state that the recording was not mixed, overdubbed or edited in any way.
(click here to continue reading The Trinity Session – Wikipedia, the free encyclopedia.)
Michael Timmins adds more detail of the album’s genesis:
We had spent the past year touring Whites Off Earth Now!! around Canada and the United States, grabbing gigs wherever and whenever they were offered. We had sold an incredible (by the Canadian indy standards of the time) 3,000 copies of Whites and had taken the little money that we had made from touring and placed it all back in the band. With a pocketful of change and the inspiration from our travels we began to conceptualize our next recording.
While touring Whites we had spent a lot of time in the Southern States, especially Virginia, Georgia and the Carolinas. For some reason the club owners down there took a liking to what we were doing so we spent a lot of time crossing the kudzu choked highways that ran through the heart of the old Confederacy. Those were the days when having to spend a night in a hotel room would mean the difference between eating the next day or paying for the gas to get us to the next town, so we spent a lot of our time sleeping on the floors of friendly promoters, fans, waitresses and bartenders. One of the best part about being “billeted” was that each night we were exposed to a new record collection and each night we’d discover a new album or a new band or a whole new type of music that was springing up in some buried underground scene somewhere in America.
(click here to continue reading COWBOY JUNKIES | The Trinity Session.)Footnotes:
Years ago, in the early ’90s, I took a copywriting class at a large Chicago ad agency, and the teacher told us a story about how, a few years earlier, he tried to persuade the indie band Timbuk3 to allow his client — I think it was Procter & Gamble — to use its song ‘‘Hairstyles and Attitudes’’ in a commercial, but the musicians refused. I was struck by his contempt for their decision, and how fresh his anger seemed. He kept sputtering the reason they gave for turning down his agency’s offer — ‘‘They didn’t want to sell out!’’ — as if it constituted not just an unthinkable betrayal but also a reprehensible moral lapse. He seemed to expect us to mirror his indignation, but we just sat there, feeling uncomfortable.
How ‘Rock Star’ Became a Business Buzzword – The New York Times
Last night Sticky Fingers1 came up on my shuffler2. Within a millisecond of the opening riff of “Brown Sugar”, I instantly knew what I was listening too, and went into a reverie. Here’s an edited version…
I cannot quantify the number of times I’ve heard this album in my lifetime. When I was a child living in Toronto, or Frostpocket, whenever there were parties hosted by the Ragnarokr generation, Sticky Fingers was a frequently spun disc. When I was 8 or 9, Sticky Fingers was one of the albums I would play when I was alone in the house – I distinctly recall sitting on the Frostpocket front porch in a rocking chair listening, loudly, to Sticky Fingers played through the house speakers, reading some book or other, and not reading but just listening.
When our family moved to Austin when I was a teenager, I remember Sticky Fingers playing at dinner parties or other occasions for guests to mingle.
I started attending The University of Texas a few months after my 17th birthday, I also moved out of my parents’ house. My first financial aid check was blown on frivolities/necessities like a stereo for my car, and a receiver, speakers and record player for my apartment. Sticky Fingers was one of the first LPs that was played on that stereo system.
For a few years while a student at UT, on Saturday’s, I would go have breakfast with Honoria, strike poses (fully clothed) and she would sketch line drawings while we listened to music and chatted. Sometimes I brought friends, but mostly, just me and a few records made the journey. Sticky Fingers was a frequent companion.
My friend Trey Buck3 would come over and we would spin records, drink wine, shoot the shit. Sticky Fingers was a frequent companion.
I made several dozen mix-tapes4 of music that played while I worked at Magnolia Cafe South, at least until the ASCAP people came by and harassed Kent Cole, the restaurant’s owner. Songs from Sticky Fingers were often in the mix.
I rebuilt my iTunes Library last in 2002, but since then, I’ve played songs from Sticky Fingers 122 times, using this particular library, or on an iPod/iPad/iPhone. This doesn’t take account of the many times the album or songs from it played in a car, either with a mix-CD, or someone else’s iPod on road trips.
Like everyone, my musical tastes have changed over time, but surprisingly, Sticky Fingers has not gotten tiresome to me, despite the constant playing over my entire life. There aren’t many albums I can say the same about.Footnotes:
- by The Rolling Stones, if you didn’t know [↩]
- I use Doug Adams “shuffle random albums to playlist” AppleScript religiously to feed my iTunes jukebox [↩]
- before he went insane [↩]
- #71 is where I think I stopped, though the first five or six were less polished, made when I was too young to appreciate the wide gamut of music available [↩]
A slightly different way to play the random music on a Friday game, I started with a song I wanted to hear, and used the Create Genius Playlist on my iPhone to generate a list.
I’ve talked about my deep love for Guy Clark’s version of Desperados Waiting on A Train previously, instead of repeating that, I’ll just add that these songs do fit well together. Vocals and literate lyrics front and center, lots of stringed acoustic instruments, guitar, fiddle sometimes, lots of empty space. If I had been older instead of younger, I’d probably have seen all of these acts multiple times when I lived in Austin, as it is, I don’t remember ever seeing any of these acts live (maybe Joe Ely, but my memory is fuzzy). I really wish I had seen Townes Van Zandt at least once, his music can bring a tear to my eye.
- Clark, Guy– Desperados Waiting For A Train
Old No. 1
- Steve Earle– Mercenary Song
Train A Comin’
- Townes Van Zandt– Pancho And Lefty
Rear View Mirror
- Jerry Jeff Walker– Pissin’ In The Wind
20th Century Masters: The Millennium Collection: Best Of Jerry Jeff Walker
- Slaid Cleaves– Broke Down
- Ray Wylie Hubbard– Conversation With The Devil
107.1 KGSR Broadcasts Vol. 7 (disc 2)
- Ely, Joe– Me And Billy The Kid
Live At Liberty Lunch
- Earle, Steve– The Mountain
Just an American Boy
- Townes Van Zandt– Tecumseh Valley
Live and Obscure
- Jerry Jeff Walker– Desperados Waiting For The Train
- Mary Gauthier– I Drink
Bob Dylan – Theme Time 3 Drink
- Earle, Steve– Poncho And Lefty
Horrible documentation (like, zero, in fact), but still, 200 jazz and blues tracks on 10 CDs for around $20 US is a pretty good deal if you are into such things (“original masters” btw) . Artists range from Blind Willie McTell, Lightnin’ Hopkins, Big Joe Turner, Artie Shaw, Louis Jordan, Champion Jack Dupree, and all points in between.
I can’t say I’d want to listen to all 200 in sequence, but as part of a shuffled playlist? delightful.
Since I own these albums already on CD, this box set, while enticing, seems too expensive for me: $30 per LP. If you are new to the delicious and infectious polyrhythms of Fela Kuti, Tony Allen, et al, these are excellent albums to start with.
Via Pitchfork’s Evan Minsker
Knitting Factory have released two vinyl box sets reissuing Fela Kuti’s albums—the first was curated by ?uestlove, the second by Ginger Baker. On September 29, they’ll release a third, this one put together by Brian Eno. For Eno’s installment, he picked the albums London Scene (1971), Shakara (1972), Gentleman (1973), Afrodisiac (1973), Zombie (1976), Upside Down (1976), and I.T.T. (1980). It comes with a 12-page booklet with a foreword by Eno, song lyrics, and in-depth commentaries by Afrobeat historian Chris May.
(click here to continue reading Fela Kuti Box Set of Vinyl Reissues, Curated by Brian Eno, Announced | News | Pitchfork.)
For the same money however, you can purchase 27 Fela Kuti discs instead: The Complete Works Of Fela Anikulapo Kuti on CD
Also here’s Brian Eno discussing how he discovered Fela1 in a record store in London
This is the first in a series of videos presenting the salutations of celebrities on the occasion of what would have been Fela’s 75th birthday. Also on this day, 15th October, Knitting Factory Records are releasing Red Hot + Fela, a compilation album featuring interpretations of Fela songs by a raft of top drawer artists. All profits from this album go towards combatting AIDS.
Brian Eno, producer, thinker, conceptual artist and lifelong Fela fan has contributed this salutory message, talking about how encountering Fela’s music changed his life.
(click here to continue reading ▶ Brian Eno – Thoughts On Fela – YouTube.)Footnotes:
- his music, that is [↩]
I hope this is a good film, because James Brown was an amazing performer, and a complicated cat…
“I was sitting right there,” says Mick Jagger, pointing at a row of seats in the famous first balcony at New York’s Apollo Theater. He is remembering how, as a young fan back in England, he had worn out the grooves on his copy of James Brown’s 1963 album, “Live at the Apollo.” Then, he says, he watched from the balcony in 1964 as the Hardest-Working Man in Show Business performed his splits and spins and dropped to his knees begging and screaming “Please Please Please.”
Fifty years later, Mr. Jagger is back at the Apollo, speaking in the historic space where “Get On Up: The James Brown Story”, which he co-produced with Brian Grazer, would have its premiere in a couple of days. It hits theaters Aug. 1.
“It was daunting, of course,” Mr. Jagger says of having to follow the future Godfather of Soul in one of his most amazing performances. Keith Richards has said it was a big mistake to even try. Mr. Jagger’s perspective: “At that age you don’t care. You don’t think. You just do it.”
Mr. Boseman worked with choreographer Aakomon Jones to learn Brown’s signature moves, including the one-legged sideways slide step that “we called the good foot,” the actor says.
It also didn’t hurt that one of the film’s producers happened to be among a handful of people on earth who has had as long and storied a performing career as James Brown.
“I would say that Mick Jagger sort of produced the philosophy behind how to approach the performances,” says Mr. Boseman. “He was adamant about the amount of intensity that James Brown brought to a performance and [Mr. Jagger] always tried to match himself. He drove that point home.”
The two also discussed what Mr. Boseman calls Brown’s “good face,” which his audience saw, and the “bad face” that the famously strict to the point of abusive band leader turned on his backing musicians.
Mr. Jagger says “We talked about how there are two people you’re playing really—James Brown the person and there is James Brown the performer. They’re not the same James Brown.”
(click here to continue reading James Brown and the Making of ‘Get On Up’ – WSJ.)
and I happened to run across these James Brown Youtuberies yesterday, so I’m sharing them for your edification. The man could dance…
The film took a while to make…
But a primary reason the project “was pushed off year after year,” Mr. Grazer says, was pinpointed by James Brown himself. Though Brown had given his blessings to Mr. Grazer’s film he remained skeptical, telling the producer: “You’ll never find somebody to play me.”
He was right. And though Wesley Snipes and Eddie Murphy reportedly were considered for the role, the part had not been cast by 2006 when, following Brown’s death that year, rights to his story were returned to the Brown family estate.
For Mr. Grazer, the film was a labor of love. A self-described James Brown fanatic, he grew up in the San Fernando Valley listening to his music. “When I was in high school, I was in a car club and I just played James Brown over and over and over again on my 8-track,” he says.
“`You wanna know how hardworking I am?”” Mr. Grazer remembers Brown saying. “Then he told me a story about how once he was dancing and he stepped on a nail on stage. The nail went right through his foot, bled through his shoe and he kept on going.”
That fired Mr. Grazer’s determination to make his film.
(click here to continue reading James Brown and the Making of ‘Get On Up’ – WSJ.)
but they want the young’uns to go see it too:
With the film ready to open in theaters, the filmmakers are hoping to repeat the success of Mr. Taylor’s, “The Help,” which grossed close to $170 million domestically on a reported budget of $25 million, slightly less than “Get On Up.”
While test screenings have shown that “Get On Up” currently appeals to “a 40-plus audience,” Mr. Grazer says, “I want kids to see it.” To get them into theaters he has tapped into friends in the hip-hop community whom he met during the production of his 2002 film “8 Mile.”
“Eminem, Snoop Dogg, Dr. Dre, ODB from the Wu-Tang Clan, Kanye, those guys worship James Brown, who really is the progenitor of hip-hop. They were all influenced by him and they all feel that some of their funk has come from James Brown. I want kids to see where the music comes from.”
To help get the word out, Mr. Grazer says he hopes to enlist his friends Jay Z and Justin Timberlake to help promote the movie.
“A lot of my friends, and Brian’s friends as well, said it was impossible to make a film about James Brown,” says Mr. Jagger.
(click here to continue reading James Brown and the Making of ‘Get On Up’ – WSJ.)
Like I said, I hope this turns out to be the biopic that The Hardest Working Man In Showbiz deserves.
Funny how memory works.1 A song by The Cars came on the iTunes shuffler, and I remembered the first time I heard that band when I was 13 or 14, traveling with my uncle Phil up to Frostpocket. We stopped in Atlanta because there was some Amnesty International exhibit on the death penalty and/or the Cambodian Killing Fields (as far as I can remember). We stayed with my aunt Megan, and her boyfriend at the time, Mark (whose last name I forget)2 for three days, one of those I was alone in their apartment, looking at their records, and found the Cars album, put it on the turntable…
Looking at the cover, I’m pretty sure it was the album, Panorama.
For their third album, 1980’s Panorama, the Cars decided to challenge their fans with an album unlike its predecessors. Whereas The Cars and Candy-O were both comprised of instantly catchy and distinctly tuneful songs, Panorama was much darker and not as obvious — an attempt at breaking away from the expected winning formula
(click here to continue reading Panorama – The Cars | Songs, Reviews, Credits, Awards | AllMusic.)
I’m not even sure I liked the album at the time – I don’t recall purchasing it when I got home, not until much, much later when I became a musical pack rat.Footnotes:
I have a large enough collection of digitized music that I cannot ever listen to it all without resorting to various tricks, or allowing universal randomization to choose for me, or by choosing themes to build around. Yesterday, I was working in my my (digital) darkroom, and needed to come up with a title for a photograph that revolved around a revolver. My first thought was “Happiness is A Warm Gun”, because that is such a great song, but then my mind wandered, bang bang…
If I had to choose, my favorite “gun” songs would be, in no particular order, Jimi Hendrix – Machine Gun; Beatles – Happiness is A Warm Gun; Pogues – A Pistol for Paddy Garcia; Leo Kottke – Vaseline Machine Gun; The Clash – Guns of Brixton; Warren Zevon – Lawyers, Guns And Money; Junior Walker – Shotgun; The Pixies – There Goes My Gun; and Felice Brothers – Frankie’s Gun! Of course, this could change by tomorrow.
Here are some others…
Certain songs penetrate one deeply, and for me, Big Star’s Thirteen is one such song.
Every time, nearly, that I hear the shimmering background vocals to this song, I get goosebumps, feel a shiver down my spine. Why do certain songs do this? Who the fuck knows, but I kept listening to Thirteen over and over tonight, and I will probably pick the needle up one more time soon as I finish typing the sentence. Ahhh…
The lyrics aren’t what do it for me, they border on silly (Take You To The Dance, and so on), but how they are sung is what gets me.
“Thirteen” is a song by the American rock band Big Star. Rolling Stone describes it “one of rock’s most beautiful celebrations of adolescence“, and rated it #406 a list of the 500 greatest songs of all time. It was written by Alex Chilton and Chris Bell.
The song was originally featured on the 1972 album #1 Record. It was never released as a single by Big Star.
(click here to continue reading Thirteen (song) – Wikipedia, the free encyclopedia.)
and from Bill Janovitz:
Big Star’s Chris Bell and Alex Chilton wrote some of pop music’s most memorable melodies — memorable for the relatively few listeners who were fortunate to hear them, that is. There are few songs that capture the aching innocence of adolescence as well as the ballad “Thirteen,” and fewer that are as pretty as this song. Often compared to their most immediate influence, the Beatles, Big Star produced some “Here Comes the Sun”-like gems. “Thirteen” is from the Memphis band’s debut, No.1 Record (1972). Over gorgeous folk-pop acoustic guitars, Chilton’s vulnerable-sounding voice shakes with the tentative insecurity of the 13-year-old narrator tenderly trying to gain the affection of his crush:
“Won’t you let me walk you home from school/Won’t you let me meet you at the pool/Maybe Friday I can get tickets to the dance/And I’ll take you, ooh/Won’t you tell your dad ‘Get off my back’/Tell him what we said ’bout “Paint It Black”/Rock & roll is here to stay/Come inside girl, it’s OK/And I’ll shake you/If it’s so, well let me know/If it’s no, well I can go/I won’t make you.”
(click here to continue reading Thirteen – Big Star | Listen, Appearances, Song Review | AllMusic.)
I guess maybe I need a Leslie speaker before I get a Theremin…
Chilton’s lyrics are so simple and so clear that they seem effortless. The song has a Zen/haiku-like quality in its concise, yet powerfully evocative form. The music is provided by acoustic guitars and vocals alone — backing vocals run through a rotating Leslie speaker.
There are other awesome songs on this album, by the way, Feel, The Ballad of El Goodo, In the Street, Try Again, Watch the Sunrise, and others, so if you see a copy of Big Star’s #1 Record somewhere, you would be well served to pick up a copy…
Does this ever happen to you? You’ve owned a piece of music1 in your library for a while, and you like it, but your relationship to the songs is tenuous, ephemeral, noncommittal. And then for whatever reason, you rediscover that particular artifact, and it grips you, forces you to play it over and over, compels you to swirl the songs in your ears. Is it that certain music takes a few plays before it sinks in? Is it a factor of your changing brain? The music is the same, but your response to it has altered, deepened.
Last week, a song came on my iTunes shuffle while I was photostrolling, a song from Guy Clark’s Old No. 1 LP. I had added this album to my library July 15th, 2008, the same day I added Nigeria 70 Lagos Jump, Ry Cooder’s I, Flathead, Alejandro Escovedo’s Real Animal, and had played Old No. 1 a few times since then, but I couldn’t say it was a particular favorite of mine. I had played it five or six times, and particular songs shuffled a few more times than that, but nothing more.
However, last week, that particular song smacked me2 and would not relinquish its hold on my imagination. So I was compelled to listen to it a few times, and then enticed to listen to the entire album multiple times. Great tunes through and through. My favorites are L.A. Freeway, She’s Ain’t Going Nowhere, A Nickel for the Fiddler, Desparados Waiting on the Train, Like a Coat From the Cold. Maybe others too. The shaggy-dog story on Texas, 1947, about putting a nickel on the train tracks as a six year-old boy has some great lines, as does That Old Time Feeling. What I’m saying is there are no skippable songs on Guy Clark’s debut album, Old No. 1…
Maybe I’m about to start my mid-life crisis, though only if I concede to not living past the age of 120, maybe it is because so many of my formative years were spent in Austin, or maybe because I’m such a fan of Townes Van Zandt, but for whatever reason, I am adding this album to that best albums of 2014 post that I will probably never get around to writing…
Guy Clark pushes a fading, black and white photograph across the table. In it, a man leans against a 1939 Packard, foot propped up on the bumper in the dusty streets of Monahans, Texas. “Jack Prigg” reads the inscription on the back. He’s smiling and sharply dressed in a black suit, a gleam of success in his grin. The image is striking for its sheer contrast to the portrait of Prigg immortalized in Clark’s “Desperados Waiting for a Train,” the old, busted oil-driller crying at the kitchen table to broken memories and songs. “Well, that must have been a Sunday,” laughs Clark, looking at the photo as he carefully takes a toke from the last vestiges of a joint and lets loose a rattling cough.
The workshop in the basement of Clark’s west Nashville home collects such memories. His father’s Randall knife sits on the workbench alongside his tools for making guitars. Behind him, shelves of cassettes with handwritten labels display a country songwriters hall of fame. A black and white photo of Townes Van Zandt, his haunted eyes somehow tracking around the room, stares down from the wall. Clark pinches a clump of tobacco and begins rolling a cigarette. The 71-year-old songwriter’s eyes sharpen as he takes in the room, his lips pursed together between the faint stains of yellow on his white mustache and goatee.
“Shit, I’d go back to Texas in a second if I could break even,” he says. “But the music business is here, and if I could just pay back what they’ve given me, or advanced me, I would love to live in Texas. At this point, though, I don’t know. I’m too fucking old to move back, pack all this shit up.”
Clark’s lack of sentimentality is deceiving. What the songwriter submerges in person surfaces in the deeply personal poetry of his songs, from “Desperados Waiting for a Train,” to the elegy for his father in “The Randall Knife,” and the title track of his new album, “My Favorite Picture of You,” an ode to his wife Susanna, who passed away last year after an extended decline from cancer.
Guy and Susanna’s marriage stands as one of the great relationships in music. As strongly devoted as it was tumultuous, their union and the art it produced became the locus for a new community of songwriters that emerged in the Seventies, a wave of scrappy expatriate Texans overtaking Nashville that included Steve Earle, Rodney Crowell, and most notably, Van Zandt, whose lifelong friendships with both Clarks remain inextricable from the couple’s relationship.
Those days feel impossibly far away in the quiet of Clark’s house as he draws slowly on his cigarette.
“If you want good friends, they’re gonna cost you,” he notes as he exhales a thin line of smoke.
(click here to continue reading We Were From Texas: Guy Clark and the high price of inspiration – Music – The Austin Chronicle.)
from Thom Jurek’s review at Allmusic, where I learned that Steve Earle played on this album…3
If only every country songwriter could release a debut album as auspicious and fine as this one. Houston’s Guy Clark, well known to the outlaw movement for his poetic, stripped-to-the-truth songs about ramblers, history, the aged and infirm, the drunken, the lost, and the simple dignity of working people who confront the darkness and joy of life quietly, issued Old #1 when his compadres had already been making waves with his songs. Jerry Jeff Walker had already cut “L.A. Freeway” and other tunes by Clark, as had Gary Stewart, Billy Joe Shaver, and others. But the definitive versions come from Clark himself. On this disc with help from Emmylou Harris, fellow Houstoners (a young) Steve Earle and Rodney Crowell, guitar wizards Chip and Reggie Young, Mickey Raphael on harp, pianist David Briggs, fiddle boss Johnny Gimble, and the angel-voiced Sammi Smith, Clark executed a song cycle that is as intimate and immediate as it is quietly devastating with its vision of brokenness and melancholy, loose wild times, and unforgettable characters.…Old #1 was unequaled in 1975 for the depth of its vision and the largeness of its artistic and empathetic heart; only Bruce Springsteen’s Born to Run came close to it in terms of aesthetic merit.
(click here to continue reading Old No. 1 – Guy Clark | Songs, Reviews, Credits, Awards | AllMusic.)
I’d rather listen to this album a million times more than having to plod through Born to Run again.Footnotes:
- album, usually, but sometimes a particular song, or artist [↩]
- Desperados Waiting for A Train [↩]
- Steve’s first known professional recording was with Guy Clark on Guy’s 1975 album Old No. 1. Steve sang back-up vocals (along with Rodney Crowell, Sammy Smith, and Emmylou Harris [“The first time I met Emmylou, she came in to sing on Guy Clark’s first album. She gave me half of her cheeseburger. I wasn’t the same for weeks.”]) on the song Desperados Waiting For A Train. Steve toured with Guy from early ’75 until late ’76. Steve also may have appeared in Robert Altman’s 1975 film, Nashville (he was part of a large crowd scene in Centennial Park, but it’s not clear whether he actually shows up in the film via [↩]