Well here we are. It officially that last day of 2022. So glad to see the year gone and ready for the new year. New Years is always about celebration. So what better way to celebrate than to funk it up.
I decided to post 7 videos. Why seven? Well it's always been one of my favorite numbers aaaaannnnndddd 2+0+2+3=7. LOL
Come with me to Earth Wind & Fire's BOOGIE WONDERLAND.
The funk master himself, Bootsy Collins had hit after hit. Here he is joined by the Cleveland Youth Orchestra to a surprizing wound up version of WIND ME UP. Wish I'd seen this show. 🙂
Known more as a disco band Chic could also get downright funky. New Years Eve is about celebrating GOOD TIMES and Chic are here to make it happen. Enjoy.
George Clinton's Parliament Funkadelic had so many great hits. There here on New Years Eve to BRING THE FUNK. Get ready to shake it loose.
The great Gap Band invites you to climb aboard the PARTY TRAIN.
The unbeatable Rick James. Playing HARD TO GET keeps the party moving.
Finally. I grew up with a TV show called Soul Train - you might say that show taught me how to dance. Enjoy Wild Cherry's PLAY THAT FUNKY MUSIC.
Hope you all enjoyed the party. See you Next Year!!!!! HAPPY NEW YEARS!!!!!
I’ve always loved this song by Greg Lake (of Emerson Lake & Palmer). It’s a really pretty song with a pleasing melody. But the lyrics are a challenge. They are delightfully cynical. He starts of with “I believed….” than switches to “they sold me” where he basically talks about being sold a fantasy (at best) and lies (at worst) which he also believed in… and it carries on from there with “the Christmas we get, we deserve.” It doesn’t get much darker than that. So listen closely and enjoy.
Feel free to add your thoughts in the comments section.
The Year: 1958
The Place: Paris, France
The artist: Miles Davis.
The Film: Ascenseur pour l'échafaud, (English: Elevator To The Gallows) directed by Louis Malle.
Nineteen fifty-eight was a very special year.
But let's go back. a year earlier. Miles Davis was at a musical crossroads even contemplating retirement. He needed something different, something new. None of the projects his label and management suggested were of interest at the time. He did settle on recordings with Gil Evans which would turn into a 5 album collaboration over the next few years. Albums who's style would also be informed and influenced by the experience Miles would soon gain.
But let's not get ahead of ourselves. We're still stuck in 1957 and miles is still "stuck" in his predicament. In November 1957 He travelled to France at the invitation of film director, Louis Malle, and was asked to compose the soundtrack for the director's first feature length film Ascenseur pour l'échafaud. Miles had never recorded a soundtrack before - let alone been asked to compose the score.
Perhaps with nothing to lose or perhaps nothing to be gained, Miles launched himself forward. He had an interest in modal jazz and was at the vanguard of that movement which was just being developed in the mid 1950s. With Miles success, it would be a guaranteed influence on generations to come. Miles was totally free. Free from the expectations that had come to fall on him from the jazz world. Film Director, Louis Malle, has suggested that he and Miles only discussed a few ideas before recording started in December 4, 1957. Miles was joined by French jazz musicians Barney Wilen, Pierre Michelot, and René Urtreger, and American drummer Kenny Clarke. Nothing was written down (composed). Nothing was planned.
The musicians sat in a darkened studio and watched the film unfold. With Miles leadership they completely improvised the score to the film based solely on the mood in the film. A film that would be a star vehicle for the smokey and dreamy Jeanne Moreau. It is a pure delight to listen to the different takes of the various themes as they each reflect the freedom of complete improvisation with nothing tied to paper. With no distractions or expectations Miles created a sound that would lead to some of his greatest work in the years to come. Coloring both his collaborations with Gil Evans but also having a huge influence on his solo recordings starting with MILESTONES (1958) and A KIND OF BLUE (1959) (arguably his greatest solo record). I'd go so far as to say that these albums would not have existed if it hadn't been for his experience in creating the score for this film.
I'd strongly encourage you to purchase a copy of the complete recordings of this amazing soundtrack Ascenseur pour l'échafaud.
Listen to what would be a nursery for the development of a new sound, new approach and new way of thinking about Jazz for generations to come.
If you've followed (or checked in on) this blog for several years then you already know the I've loved the music of Michael Franti & Spearhead.
Today I want to focus in on attitudes. I don't know about the rest of the world but here in "United" States there has been so much negativity and to be honest there have been way too many times I've gotten sucked into that deep dark black hole. Sometimes with reason sometimes for no reason at all except that's the environment I'm in. It's been especially challenging the past 10 years. Well we need to check our attitudes look at the source and either decide to continue the "downward spiral" or change our attitudes. The music of Michael Franti has been that attitude check for me. Here are 3 videos of his music from the past 2-3 years that help. Stay Human. Recognize that people who create headaches and trouble are STILL people. Don't get sucked into typecasting people as villains, enemies, animals, evil etc. When we curse other humans we curse what is human in us. We all have weaknesses, lapses in judgement, we at times can be villains, enemies, animals, evil etc. And the good thing is that we never stay that way. What makes it seem different for some other people - people/celebrities/politicians - is that the media only shows the side of people that are evil, "animals", "enemies" and villains. But enough talk because - I could write a whole lot more - just enjoy the music and videos. So check your attitude and remember with all the bad shit that happens good shit happens also. And work hard and be nice to others even those you don't like or agree with. Remember when you get/got up this morning it was a good day for a good day. If you're unable to view the videos go ahead and lookup the following on YouTube and hopefully you'll be able to find a version that is available in your country:
Michael Franti & Spearhead - Good Shit Happens
Work Hard And Be Nice
Good Day For A Good Day
One of the wonderful things about YouTube is how different fashion houses have embraced the shared video format as an opportunity to create and share some amazing video content. This video I'm posting today in an amazing example.
This film created to celebrate International Dance Day 2022. Dance has always been about the creative tension between control and release and even explores movement through sounds that are created through movement. The setting is the Palazzo Farnese in Rome. Built for the Farnese family and was greatly expanded when Alessandro Farnese became Pope Paul III. Famous for it's sculptures and artwork (most which resides currently Museums in Naples) it is currently the home of the French Embassy in Italy. The dancers represent sculptures come to life as the the dance tells the story of Nox, goddess of night, adding darkness and mystery to this place of power.
The costumes are designed by Maria Grazia Chiuri, designer and creative director for famous fashion house, Christian Dior and highlight the sculptural elements of the dancers bodies. Music is by various composers including (but not limited to) Ligeti, Bach and Vivaldi.
The camerawork and lighting are also quite amazing. seamlessing weaving in and out between real time, slow motion and reverse slow motion.
Enjoy.
Jim White is most frequently considered a storyteller first and a musician second. You might compare him to Laurie Anderson and others of that ilk. His songwriting has also been compared to David Byrne, Jim Croce and Bob Dylan.
I've been a fan of Jim's stories-set-to-music since his first album (and subsequent film) SEARCHING FOR THE WRONG-EYED JESUS. I was thrilled to see he had recently, independently, releases a new recording Titled MISFITS JUBILEE (released in 2020). While I find all his songs/stories interesting I wanted to share three of them.
First up is the last song on the album. The Divided States Of America; a critical view of all things american including politics, social behavioral structures. Jim grew up in Pensacola, Florida which is frequently his muse. Florida is known as a hotbed of weird contradictions which I believe gives him authoritative credence to his criticism. I've also included his brief statement from the YouTube video description. The chorus which goes "no one is at home anymore in America, in America, in the divided states of America" is somewhat ambiguous. I want to suggest that the words "no one is at home..." not to be taken literally, but instead, understood in terms of comfort. No one is comfortable in America anymore. I certainly feel this conflict - I feel out of place and uncomfortable with life as it is. And I love how this track ends quoting George Washington (a founding father), Emma Lazarus and Jesus Christ. Things that used to be cornerstones of American thought and now, like Jim, I wonder "what happened to that America". An open question that I wonder if it has not been swallowed up in commercialism - after all the last lines are "I'd like an order of fries and a Big Mac... uhh no man fries and a Big Mac what's wrong with you man..."
The second song is Smart-Ass Reply (# 5 on the album). This song I can also relate to. Love the punk chorus, "I'd sell my soul for a smart... a smart-ass reply..." While I usually am not in want for smart-ass replies (as my co-workers would tell you - in fact they've given me a nickname because of smart-ass replies - they call me "the comedian" LOL). But blogging doesn't really lend itself to smart-ass replies because they are often instantaneous. And yet there are times I fall short and would definitely sell my soul for a smart-ass reply. So there. Put that in your pipe and smoke it!
Highway Of Lost Hats. This final track is also catchy and looks at a guy who's picked up a girl that is taking him for a ride as he says in the chorus, "Going nowhere fast, speeding down the highway of lost hats." Of course the ride ends tragically as he gets pulled over by the cops which in itself is a critique of policing in America.
Highway of lost hats is a poetic phrase and the song can be a parable of how Americans have been misled/gotten side-tracked and ended up "going nowhere fast, speeding down the highway of lost hats". Hat are of course a protective head covering. What happens when we lose that protection? How many have lost their heads without a protective covering to sane thought and wisdom?
“My sincere prayer is that my fellow Americans will wake up and once more hunger for a kinder, saner compass, one that’ll lead us back to the pursuit of nobler intentions, ideals of freedom and fairness that were once our theoretical guideposts as a people. Such values have been all but abandoned of late. Time will tell if us Americans have the courage, resolve and moral strength to set things straight. There’s much work to be done and such ferocious resistance presently emanating from the darker side of human nature.” – Jim White
If you like Misfits Jubilee be sure to search out the following
SEARCHING FOR THE WRONG-EYED JESUS
NO SUCH PLACE
DRILL A HOLE IN THE SUBSTRATE AND TELL ME WHAT YOU SEE
4 haiku for the end of Autumn.
(12/01/21)
Leaves begin their fall.
Colors changing while you watch
autumn's rich pageant.
(11/27/19)
Cold, dark, windy night;
trees shudder; dead leaves unchained
make fierce their escape
(12/01/21)
Distant in the dark.
Sweet sounds the soft piano.
Music in the night.
(12/01/21)
Chill'd, damp autumn night.
Sleepless bare trees sway slowly.
Unwrapp'd, expos'd heart.
Last year my album for Summer 2020 was Toya Willcox’s COURT OF THE CRIMSON QUEEN.
This year I am unable to limit my selection to one artist. So you get one plus a bonus. Yay! Everyone likes a bonus! LOL .
The first artist has released her first solo album of original material. She is part of the Manchester Soul scene in the UK. Her name is Josephine Oniyama although she shortens it to just Josephine. She was born into a rich broth of Jamaican and Nigerian cultural heritage. Her album PORTRAIT is amazing and beautifully showcases her versatile voice. At times she sounds like Janis Joplin “I Pray That I Move” and Annie Lennox “Original Love” and other shims she has a pop acoustic feel similar to Tracy Chapman. But those are just first impressions. Her music traverses the wonderful and lush soundscapes of country, pop and soul with some jazzy inflections. She has previously released a few singles and was a featured vocalist with UK Jazz trumpeter/composer Matt Hallsal and his Gondwana Orchestra. It will be interesting to watch her career as it moves forward. Enjoy the following three tracks from her debut album PORTRAIT. You may purchase or download via BANDCAMP https://josephineoniyama.bandcamp.com you may also want to check out her website http://josephineoniyama.com
So, let’s get on with the music (some videos may be only viewable on YouTube – but it’s worth it.
The bonus artist for my summer music playlist is Canadian soul and jazz singer Dominique Fils-Aimé. She was born/raised in Montreal, Canada to Haitian immigrant parents. She recently released her third full-length album. This gal is ambitions and I say that because she jumped out of the gate with thematic trilogy with her first album being the first entry in the trilogy with each album exploring a different area of African-American music. The first album NAMELESS focused on Jazz. The new album THREE LITTLE WORDS is the final installment of the trilogy and is very much a Soul album. The title of the album is so named because each song is titled using only three words.
If you’ve never heard of Rodrigo y Gabriela you have been missing out on something quite interesting, inventive and magical. I first heard them while I was working in music retail and their eponymous first album was released. I’ve been following them ever since.
This duo’s background is in heavy metal, which is the music Rodrigo’s band played and Gabriela was more-or-less a “groupie” that followed his band. Then they started dating and playing acoustic guitar. They found they had a real chemistry and explored their cultural roots in flamenco. They stopped dating when they discovered that the relationship was getting in the way of the music they wanted to make. And that’s when their music really started to take off. They began by “busking” around Ireland and Europe which is how they were discovered which would lead to their first recording. Several years and several albums later they released their most recent studio album Metallovution which won the Grammy Award for Best Instrumental Album.
Over the years, in addition to writing their own material, they have covered many rock legends like Led Zeppelin, Slayer, et al, with their acoustic flamenco guitar style. These song selections always allowed them to leave one foot firmly grounded in heavy metal while continuing their acoustic style. They have, in recent years also been delving into jazz. their most recent EP is a 3-song cover of contemporary jazz covers by Snarky Puppy, Kamasai Washington and legendary tango composer Astor Piazzolla.
Todays video is a wonderful live video that was recorded at a 2014 show at the historic Red Rocks Amphitheatre, Colorado, USA where they perform an instrumental Metallica medley. Now aside from Metallica’s “Black Album” I’ve never been a big fan of the group. But this video is wonderful to see and hear the type of energy the music contains without the ear shredding vocals, drums and searing electric guitar. As an added bonus they are joined by one of their idols, Metallica bassist Robert Trujillo. So enjoy this medley of 4 songs by Metallica: “Orion” “For Whom The Bell Tolls” “The Frayed Ends of Sanity” and “Battery”.
In the early 2000’s I was working in music retail and was given a sampler of hot and popular music from Japan.
It featured some amazing artists and styles. A real ear-opener. One of the artists were Pizzicato Five. This group falls under the category of things I miss, and “whatever happened to….?” This is, in many ways pop fusion music with it’s blend of soul, pop, french chanson, Burt Bacharach etc. The music is cheery, upbeat, warm and smooth retro feel which is perfect for summer. I’m not sure what happened to this group. Unfortunately they never really made a hit in the US. And their music is hard to find. But here’s to happy music may it bring a little cheer to your summer.
I found these fun videos and they really do maintain the fun vibe of the music with their own hipster cool.
Today I’m going to focus on a type of music that does not get much press or recognition. It is often thought of as old-fashioned, old-timey, stuff your great grandparents listened to. One reason may be that it does not neatly fit into the established genres of music that have become culturally established.
I was fortunate enough to grow up and be raised in the Mennonite church. A Cappella music was all around. In church everyone sang and everyone sang in four-part harmony (Soprano, Alto, Tenor and Bass). It was all hymns all the time. And I credit that for establishing at a very young age my entry point into music. What I mean by entry point is the primary attractor. For some people it may be the beat, the rhythm, melody, overall feel or for some, like me, it is harmony. Harmony is the first thing I hear that gets me sucked into the “world” the music creates. I love harmony!
As I was growing up and things like AM radio became common place in our household – I’ll always cherish my little handheld transistor radio with a small speaker and an earpiece that looked more like a hearing aid with it’s thinly coiled cord – nothing like the iPods we’ve become accustomed to. This little transistor radio was my constant companion as I was growing up (age 8-15, 1968-78). Otherwise we had black and white television set which was all we could afford and it was cheaper than the newer color one. But TV and AM radio exposed me to popular music and much of the music at that time had some sort of harmony (think Beach Boys, Chicago, America, The Association, Simon and Garfunkel, Seals and Crofts, etc) This listening further solidified my interest and love for harmony. I sang in all the school choirs, concert choir, show/swing choir etc.
As I grew up and my music tastes evolved into other genres etc harmony was never far away. After I had graduated from High School in 1978 – not wanting to go to college at that time – I got a job at a local retailer. A co-worker was involved in a local mens chorus called (The Wayneaires – which sadly no longer exists) that sang a music style called Barbershop. It is a cappella singing in 4 parts (lead, tenor, baritone and bass). I had great fun. I learned much including this notion of overtones and undertones (simply – a third audible unsung tone/note can be heard when the resonances of two or more other sung tones are combined). And, for me, when I hear overtones ringing it literally gives me chills it provokes a physical response that I seldom experience when listening to music. We did an annual show that featured the chorus (of about 45 members) and featured guest quartets from around the region. Always a theme. I did this for about 5 years and even sang in some quartets before I decided to go to college. At that time the music was mostly traditional barbershop songs like “Lida Rose”, “Sweet Adeline” etc with ever-changing arrangements. There was an organization called S.P.E.B.S.Q.A. (pronounced speb sqwa) and stood for the Society for Preservation and Encouragement of Barbershop Quartet Singing in America. Around 2004 it was changed simply to the Barbershop Harmony Society (whew! about time they got rid of that old mouthful – LOL). I have not sung Barbershop in the past 30+years but I still like to check it out occasionally and find it stronger and better than ever. There is a more diverse catalog of songs
There is always an international competition for Barbershop (2020 being the exception due to the pandemic) and there are 4 categories where a champion is named – Quartet, Chorus, Senior Quartet, Youth/Collegiate Quartet on which they are judged on music (selection/arrangement), singing and performance (of which humor can play a key role). Regarding performance we were taught it is about “filling the space”. not just with facial expressions but also body movements/choreography etc.
At the end of this post I will post links to the Barbershop Harmony Society website if you wish to know more about it’s history and much much more.
I will post videos of the 2019 champions for you to “taste”. And hopefully it will be as sweet for you as it is for me. And if/when you hear those overtones – feel free to let the goose flesh pop. LOL
***fyi – not sure – but you may have to watch videos on YouTube
First up – 2019 Chorus Champions (also Champions in 2007, 2010 & 2015)- The Westminster Chorus with their award winning performance of From Now On/Come Alive Medley (from The Greatest Showman) Be sure to go to YouTube and check out their 2015 Championship performance of “Seize the Day” from Newsies.
2019 Quartet Champions – Signature with their winning performance of Proud Mary (Ike and Tina Turner cover)
Also check out their other barbershop arrangements of Queen, Michael Jackson and other pop icons on YouTube.
Seniors Quartet Champions – DoubleDouble with one of their winning performances Green Green Grass of Home (parody). look for the the shift from serious to comedic around the 2 min mark. 🙂
2019 Youth/Collegiate Champions – Wildfire with their performance of Between You and the Birds and the Bees and Cupid.
While top 10 finalists compete for the title of Champion – the evening starts off with a mic test – it is a performance awarded the 11th place quartet and an opportunity to cut loose. This performance from 2015 is by one of the funniest quartets – The Newfangled Four (Youth/Collegiate Champions 2013) with their rendition of the vintage song Hello My Baby (through the years). Enjoy. *note – at the end they are joined by a singer from another Quartet called Instant Classic, who were the Champions of 2014.
And for you women out there – Barbershop Harmony is not only a mans thing – Women have their own version of the Barbershop Harmony Society called Sweet Adelines Intl. Look for more on that in my next post.
I’ve been diggin’ the opera Akhnaten (again) by Philip Glass. Probably my all-time favorite of his opera’s. Enjoy this duet between Akhnaten and Nefertiti.
this was the live stream event of THE PHARAOHS GOLDEN PARADE which marks the journey of 22 of Egypt’s royal mummies from one museum to their final resting place. I found it passionate and moving. The music and performance was spectacular. While the entire program is 2+ hours, the first hour is largely history and documentary programming.
As such, I recommend starting at about the 1:11:00 (1 hour and 11 minute) mark. For those that do not speak egyptian/arabic there are usually english subtitles and/or english translation.
I do wish that I knew what musical pieces were performed and the composers. But so far I have not found out.
Congratulations to Egypt for this fantastic and marvelous presentation. I found it powerful and emotional.
Once in a while there is music that comes my way that causes me to sit up and take notice in the same way that a slap in the face does like good art tends to do. The two tracks I present here today have done just that. I’ve listened to both repeatedly and also the videos are top notch. The videos are also related in their themes.
First is MANDRILL by Martin Gore (Depeche Mode). It is an instrumental track that carries a strong industrial beat similar to 80’s/90’s era Nitzer Ebb and Front 242. It is the lead single from Gore’s forthcoming solo instrumental EP, THE THIRD APE. The music was inspired by THE RISE AND FALL OF THE THIRD CHIMPANZEE written by culture and anthropological historian Jared Diamond. In the book Diamond lays out the argument that humanity is the third chimpanzee. The chimpanzee is genetically more closely related to humanity than to other apes, monkeys or primates. Diamond proceeds to draw many lines of comparison to reveal the truth of his observations and assertions about the evolution and future of the human animal. After watching this video I immediately purchased the book and found it a fascinating read.
Now back to the video. When I first saw the video several things stood out. The abstract nature of the videos “film language” mixing abstract art, animalistic representation with (what felt like) aggressive expression of the Mandrill featured in the video, the frequent appearance of figures of three (usually expressed in bars or strokes), the white palm print of which I can’t help but draw comparisons to the white hand of Sauron on the Orc’s that served him in the Lord Of The Rings trilogy. And then there are the splatterings that seem to suggest uncontrolled madness as they appear on the canvas. There is also the way the abstract at one point starts to flow from the top of the screen like blood.
Was the Mandrill barking and biting back at humanity? Is this an animalistic criticism of humanities aggressive devastation of the planet? Just how much blood does humanity have on it’s hands? For me this video feels like observation and commentary instead of just criticism. I think this is a good thing because it means that there is still hope to change the outcome.
This next video is by 80’s musician Gary Numan. INTRUDER is the title track from his forthcoming album (May 2021). This is very dark and visceral. Visually, near monochrome, the video is filled with abstraction with the literal dissection of the performer by dark blurred geometric shapes in contrast to appears of what seems like roots, bones or animal parts, something I can’t define. It feels shamanistic and is a perfect statement for our time. I’m struck by the lyrics. In the beginning it’s about the “I” and by time we reach the end it’s about “you”. Taken as a whole it’s about us, you and me. Numan, as a fragmented singing spirit in the beginning seems to ask “What does humanity really want?” What choices are we faced with? In a world that is all talk where people gravitate to like-mindedness on social media that creates greater division, less tolerance and understanding; this song is a definite criticism, but still ends with a sense of hope by asking the question “Don’t you wish you listened more?” Which is also the resolution to the problem. He is critical of religion, and rightfully so, as religion has become a pawn of those who seek power and control. Speaking is more a religious act and listening is a more spiritual act.
You could be forgiven for thinking that the character in the video is some sort of demon or dark force but I would like to suggest that it is the earth itself like a dark angel holding up a mirror to reflect us back to ourselves on what we’ve become. And in this video there is the deliberate “blood on our hands” image – and if we consider the mirror reflecting back to us – we take pride in that blood as we streak it down our faces with a war-like tribal ritual to show our power. Not only do we have the blood of all the lives we’ve slaughtered but the blood of the planet itself with our environmental devastation. Do we like what we see? Will we make the right choices and decisions going forward? Will we continue to be the intruder or the caretaker/restorer? If we kill the planet we kill ourselves.
I could listen to you scream
Pretty music to my ears
I could listen to it all day
If you want me to
I could talk about my world
How you brought about ruin
I could talk about your greed
If you want me to
I could look into evil
See a heart just like mine
I could throw away reason
If you want me to
I could walk into darkness
Find the hole you crawled into
I will be the intruder
If you want me to
You can whisper your lord's prayer
And pretend that it matters
But don't you wish you'd just listened more?
You can hide in the shadows
And pretend I won't find you
But don't you wish you'd just listened more?
I could listen to more lies
About promises you kept
Will you walk on water
Like you said you would?
I could make you my prisoner
But you were dead men talking
When you burned the oceans
Like you said you would
You can beg for god's mercy
And pretend that he hears you
But don't you wish you'd just listened more?
You can drown in your sorrow
And pretend you were helpless
But don't you wish you'd just listened more?
This was always your one life
I won't pretend that it matters
But don't you wish you'd just listened more?
This was always your one home
I won't pretend that I'll miss you
But don't you wish you'd just listened more?
Well that’s my take on these two videos. What are your impressions? Leave a comment – I’m listening.
***I can’t promise the videos can be seen outside the US but hopefully you will find a version you can watch.
So I guess you could say this post falls in the category of things I like. As many of you who have followed my blog over the years knows, I love the 4AD music label(specifically the earlier years – the past 10-15 years have been somewhat hit/miss). One of the bands that I enjoy from the earlier years is RED HOUSE PAINTERS. I recently acquired their SHOCK ME ep.
This recording features 4 official tracks and one untitled “hidden” track (at the end of track 4). Released in 1994 it really is a wonderful collection of covers and original material. For this post I want to focus on the title track which is a cover of the KISS song Shock Me (written by Ace Frehley) that was originally on the KISS album LOVE GUN. In fact there are two versions on this EP (the electric and an acoustic version). Both versions are very solid and very unlike KISS. Which is one of the things I love.
Don’t get me wrong; I love kiss I actually saw the Alive II tour at a local venue called the Richfield Coliseum (near Cleveland – which no longer exists – how time flies) on 8/1/1978 and what a show! But that was in my fist pumpin’ hard rockin’ teen years. Maybe you’re not a fan of KISS or are not familiar with this song. That’s okay. Ace Frehley wrote this song after an event that actually occurred on the KISS’ ROCK AND ROLL OVER tour where he was nearly electrocuted. If you’re familiar with KISS you can imagine this song has the tell-tale chugging hard rock sound that many love from the make-up clad quartet. I’ll post that video at the end of this post for comparison sake. But first I want you to listen to the RED HOUSE PAINTERS version.
RED HOUSE PAINTERS have been described as slow core and folk rock. While their music inhibits both of those worlds this song is definitely in the slow core vein. One of the things I enjoy about it is that is has a very Velvet Underground feel to it. The second iteration of the song which is acoustic sounds familiar yet very different. I can sit with my eyes closed listening and imagining Lou Reed and Peter, Paul & Mary singing this. It really is quite beautiful.
The EP has ephemeral/ethereal cover art that 4AD was known for in the early days. If you don’t recognize the image – it is a detail of an old broken down upright piano keyboard. A beautiful simple image that resonates so well with the RED HOUSE PAINTERS sound. Dean Carlson of ALLMUSIC described this version of the song and the EP as “Somehow quietly splendid”. I look at the KISS version of SHOCK ME as the “I dare you to” version and the RED HOUSE PAINTERS versions as the “surprise me” versions. Because even though the lyrics and music is the same the songs couldn’t be more different. And I think a great original cover of a song that basically re-invents the songs potential is also great art. I think I’ve said all I can at this time. I hope you enjoyed this post.
Finally the moment you have been waiting for? Here’s the KISS version from a concert in 1998 in all their makeup and costumed glory. 🙂
Something we all need to be reminded of from time to time. We as human beings have a habit of blowing things out of proportion and making them seem more important than they are.
I want you to think about what makes you angry, frustrated, sad, hopeless. It might be relationships, politics, health, personal economics/finances, business, religion, culture, media, the environment etc. Nothing is off bounds. Everything matters here. I’m guessing there is at least one thing that immediately comes to mind for every individual.
Now.
Let it go.
Let it go now.
And yes, that seems easy; but it’s not, especially the more invested you are in the subject whether it’s emotionally, spiritually or intellectual investment.
But do you think the tree in Autumn wants to let go of its leaves? Or that it’s easy. And yet it does. The tree feels the pain of separation with each leaf – sometimes a thousand times. Year after year the tree will let go of its leaves. The tree does not know what the future holds but it continues the cycle.
So for all the things that seem so important at the time – in the long view – they are not important at all.
They are about as important as a “pebble lying on a gravel road”. So let it go. Sometimes it’s easier sung than done. I found that singing this song while I’m thinking of these things helps me keep things in perspective and remember what’s really important.
Maybe a nice practice would be to write down all these things than anger, frustrate (…etc.) you. Then like Autumn leaves – burn them. Let the worries and cares turn to ash. Then wash them away.
Hey man, you don’t know what you’re missing You count your curses and forget about the blessings Don’t you think you should learn a little lesson What are you waiting for?
Hey man, what makes you so special Can’t seem to find the angels for the devils Don’t you think that if you learned to love a little You’d live a whole lot more
Let it go, let it go This is smaller than you know No bigger than a pebble lying on a gravel road Let it go, let it go Got to leave it all behind you Give the sun a chance to find you Let it go
Hey man, there’s no time for crying You made your bed but don’t think its fit to lie inWasted on the ground when you know you should be flying What are you waiting for?
How can a man not see It seems so clear to me You’ve just got to live and learn Smile at the simple stuff This road ain’t long enough To miss a single turn
Robert Mirabal is one of my favorite Native American songwriters. He grew up and still resides in Taos, New Mexico. I first saw and met him when I was in the music retail business. His original label had a showcase of new talent that I was fortunate enough to be invited to attend. Robert, and his brother Reynaldo, Mirabal made a permanent impression on me. Simply one of the most moving concerts I’d seen. His humility is real. This clip is from a PBS special called MUSIC FROM A PAINTED CAVE. The message in this song is powerful and perhaps more relevant today than ever before. Enjoy this track, LITTLE INDIANS. What type of mirror are you?
Little Indians walking two by two
Three girls, one boy, losing faith with the world
Step by step, moving towards the end
Step by step, moving towards the front
Can you take them away
can you carry them away
Can you take them away
can you carry them away
Maybe they’re the mirror that reflects all
Can you take it away
can you kiss it away
Can you take it away
can you kiss it away
Maybe they’re the mirror that reflects all
Little Indian men, walking two by two
Lost and weary, losing faith with the world
One by one, moving towards their death
One by one, moving towards their death
Can you take them away
can you carry them away
Can you take them away
can you carry them away
Maybe they’re the mirror that reflects all
Can you take it away
can you kiss it away
Can you take it away
can you kiss it away
Maybe they’re the mirror that reflects all
(flute solo) ……….
Can you take them away
can you carry them away
Can you take them away
can you carry them away
maybe they’re the mirror that reflects all
Can you take it away
can you kiss it away
Can you take it away
can you kiss it away
Maybe they’re the mirror that reflects all
Little child walking all alone
Lost and lonely, losing faith with my world
Step by step, moving towards my end
Step by step, moving towards my end
Can you take me away
can you carry me away
Can you take me away
can you carry me away
Maybe I’m the mirror that reflects all
Can you take it away
can you kiss it away
Can you take it away
can you kiss it away
Maybe I’m the mirror that reflects all
Can you take me away
can you carry me away
Can you take me away
can you carry me away
Maybe I’m the mirror that reflects all
Maybe I’m the mirror that reflects all
Lyric euphemism. Pop songs that have explored lyrical euphemism has always made me smile. I think there is a fine art to language of which euphemism plays a role. There are tons of songs in popular music that are some type of euphemism. For decades and decades musicians have skirted parental control with the use of euphemism. But that’s just my opinion. I’ll let you decide. Let’s get the party started. How many euphemisms are there for your backside? More than I thought. LOL
Another installment: thinking of the world we are leaving our children and the children of the future. We are on the cusp of the next great extinction event caused by climate change. Climate change cause by humanities overwhelming impact on the environment and the planet on which we call home. Our children should not be the ones to warn us yet that is what is happening. We adults have shrugged off our responsibility and now our children are crying out for help. What are we doing to provide light during these dark times? What are we doing to keep them safe? How long will we pat our children on the head and offer our empty comforting words? Or, will we continue to write pretty songs to placate and humor the need instead of meet the need? It’s not enough to say, “It’s just too hard. At least the world won’t end while I’m alive. We’ll let someone else figure it out.”
When will we say, “…NOW is the favorable time. NOW is the day of salvation”(*) for our children?
I grew up in a safe environment. Everything was safe. The food was safe. Society was safe. School was safe. Home was safe. But as I got older I learned that it wasn’t safe it was just protected.
There are people who still want to live in their own comfortable “protected” worlds. But protection is a myth. A legend elders tell children. It does not exist. And insisting it does exist, does not make it so.
Further I suggest that propagating this delusion is more harmful than preparing for the facts. The truth. Example: Climate change deniers often use their arguments as an excuse to keep from preparing for the consequences of climate change and taking action to slow it’s impact. And now with the pandemic, humanities approach to disease belies their own unpreparedness. Death and sickness has become unacceptable (even though it is inevitable) So they wear masks, they fight over it, they try to shame those who are “awake” and not afraid. They want a safe world where things don’t change. The climate doesn’t change. People don’t get sick and die. The world doesn’t change. Everything is safe.
What does this have to do with difficult music/difficult listening?
Like the quote from William S Burroughs in the Laurie Anderson video,
“language is a virus from outer space.”
Difficult music challenges a listeners perception of the norm. It suggests there is something else we need to consider. It suggests that we look into the dark corners. Difficult music is to sound what abstract expressionism was/is to art. And most people who have abstract art work treat if more as wallpaper than as something that has something to say/contribute to the conversation of our times. And in music, people typically do not choose to engage it because it requires them to think about what they are listening to. It is often difficult if not impossible to just hang it on a wall as pretty wallpaper for the soul. Difficult music is often derided as messy, juvenile, scary, ugly, inaccessible (not conforming to any known genre parameters) and ultimately ignored. It is the red-headed stepchild of the music world.
But we can learn much from difficult music. It is not something to be afraid of. The shadows are not scary if you enter with a flashlight. It can teach us about ourselves in ways we haven’t considered or dared think about. But to encounter and engage difficult music one must be prepared and perhaps that is the problem with our “protected”, “safe” elders they are not prepared and they do not know how to prepare the younger generation for the facts and truth of existence.
So, do you want to explore difficult music? Don’t know where to start?
Step One: Turn off the radio and TV – they are notorious “taste makers” that would rather keep you safe than expose you to truth. There are many artists that have helped me in preparing for the real world. I started learning about many “difficult” artists just from reading the underground music press (back in the 1980’s) when popular music was experiencing an explosion of variety. But difficult music existed long before I started reading about it.
Here are some artists you can start with (in no particular order):
Laurie Anderson Public Enemy
Einsturzende Neubauten/Blixa Bargeld The Last Poets
Alva Noto Lustmord
Laibach Rapoon/Zoviet*France
Robert Fripp/King Crimson et al Ornette Coleman
Diamanda Galas Lester Bowie
Sun Ra Terry Riley
The Art Ensemble of Chicago Steve Reich
Philip Glass (early works) Markus Reuter
Robert Rich Scott Walker (after 1994)
Merzbow Cabaret Voltaire
Swans Nurse With Wound
Matana Roberts Godspeed You! Black Emperor
The above artists all have work available on Youtube so enjoy your excursion into difficult music. Maybe in the future I’ll write about some of the specific recordings. Again this is just an introduction to difficult listening. Maybe not what you want to listen to in these difficult times but the music does speak to the truth of the times we are experiencing.
I’ll start you off with this Nurse With Wound video for the song BOTTOM FEEDER
This post was inspired by fellow blogger, Oannes. He has been posting some wonderful songs about childhood. Be sure to check out (and follow) his blog https://oannes.gr/category/other-musical-stuff/
For my own contribution I present Chuck Mangione’s title track from CHILDREN OF SANCHEZ which was also the soundtrack for the Mexican-American movie of the same name.
A passionate track that covers so many emotions. While listening I can’t help but think about Children in the world in which we now live. Are we teaching them to hate instead of love? Are we teaching them to be afraid instead of accepting and courageous? Are we teaching them to not trust anyone? We adults set the example for these adults of the future. Just what are we teaching our children? What kind of dreams are we giving our children? What memories will our children have?
This album is one of 3 favorite Chuck Mangione albums. And I highly recommend it. This title track is ambitious starting off with powerful lyrics sung by Don Potter. And then once your heart is softened the drums and horns come in full force to break it all apart. The lyrical verse is then repeated with Chucks Flugelhorn replacing the vocal and then again by guitar virtuoso Grant Geissman. There is a whole verse improvised around the theme by Chuck that is pure hopeful celebration followed by a lyrical reprise. By the end when that last drum and horn break forces it’s way into the song I find myself pumping my fist in the air in righteous agreement – wanting to shout “WAKE UP PEOPLE AND THINK OF THE CHILDREN!”
I recall how Native American tribes would plan not only for their children but for the 7th generation. We need to get back to that. It’s not too late. That seems to be a good lesson for our children and our children’s children….
Without dreams of hope and pride a man will die
Though his flesh still moves his heart sleeps in the grave
Without land a man never dreams cause he’s not free
All men need a place to live with dignity.
Take the crumbs from starving soldiers, they won’t die
Lord said not by bread alone does man survive
Take the food from hungry children, they won’t cry
Food alone won’t ease the hunger in their eyes.
Every child belongs to mankind’s family
Children are the fruit of all humanity
Let them feel the love of all the human race
Touch them with the warmth, the strength of that embrace.
Give me love and understanding, i will thrive
As my children grow my dreams come alive
Those who hear the cries of children. god will bless oh yes he will
I will always hear the children of Sánchez.
Maher Zain born 16 July 1981. A singer/songwriter who’s music can be described as inspirational pop and many classify as R&B. Born in Tripoli, Lebanon his family emigrated to Sweden when he was 8 years old. His music has a strong muslim influence but don’t let that throw you off. He sings mostly in English but also mixes in Arabic, French, Turkish, Malay and Indonesian. He is also known to release different versions of the songs in each language. He releases his recordings on the Awakening Music label. His videos are powerful connections between lyric, sound and image. He finds commonality in his faith where so many try to find difference and separation. I find that many of they lyrics could be appreciated by Christian, Jews, Buddhists. If his videos sometimes seem political it is simply because he takes an event as the core topic of the story/message he is trying to spread. It is not a politics of separation but, instead, a politics of unity, exploring commonality in the human experience. Songs of social justice and conflict. Here are several videos. I hope you enjoy.
His newest video in remembrance of the Bosnia Genocide that began 11th July 1995.
Nearly every year he releases a different video celebrating the Muslim holiday of Ramadan. Here is his video for Ramadan 2020. ANTASALM (You[God] Are Peace) – an encouragement in a year of great difficulty.
A song addressing Racism in this summer of racial unrest.
A song dedicated to mothers.
Love Will Prevail – An emotional take from 2013 of the tragedy that is, continues to be, Syria. As we confront ongoing violence around the world – let’s look to our own communities – will we let love prevail?
Another Ramadan video (this one from 2013) – exploring spiritual longing, community and celebration.
Finally. A message that I think is more important in these times of unrest, outrage and deep offense. I think there is a time for everything. We need to have conversations not just telling but also listening. We need to change the things we have the power to change and let of the things we cannot change. There are great harmonies in the song and it makes me think how letting go can promote harmony.
Do you ever pick a theme song to get you through the summer? I do because the music feels cool no matter how hot the temperatures may get. I started doing this in 2003. That first year the album was THE THORNS – with their songs “Runaway Feeling” and “I Can’t Remember”.
This year with everything that’s happening culturally, politically, globally it just feels like a nonstop hurricane. I choose to sing and dance. Most people think these things are just about feeling good, joy, celebration etc. But you can also sing and dance in protest. And that’s my mindset this year. So my theme song for 2020 is “Dance In The Hurricane” by Toya Willcox. I listened to Toya occasionally back in the 1980’s when she was just starting her career. In addition to music she is a gifted actress and author. She never really broke big here in the United States. I lost track of her over the years. I recently re-discovered her with her new remastered collection, when she recorded with a band simply called THE HUMANS. I started doing some googling and reading and found that somewhere after I stopped listening to her she married Robert Fripp – yes, that Robert Fripp, of KING CRIMSON fame (**see note at end). Now my curiosity was piqued and started seeking out her most recent music. She just released (in 2019) a remastered edition of her last studio album IN THE COURT OF THE CRIMSON QUEEN (2008) re-imagined w/bonus tracks (a deluxe 2 disc set). I listened to a couple of snippets on YouTube and thought “Oh what the heck”… and I bought the album. It blew me away. One song, especially, just grabbed me in the fiercest way – its ideas and the driving rock sound. “Dance In The Hurricane” features some narration by Robert Fripp. Its an encouraging and powerful song to be listened to repeatedly during difficult times.
Here’s a snippet of the lyrics:
“…Don’t write my rules,
Love your life, Dance in the Hurricane…Only heaven knows how life will write your song. Be loud, be heard, be proud…”
[chorus] “I danced in a hurricane with the god who has no name, I had to run or face the pain, hold on to love, and learn to trust again…”
Final line in the Lyrics – “One constant law remains, if the light goes out dance again.
So I dare you to DANCE!
DANCE IN THIS HURRICANE!! Let this song be your dynamo to re-charge your soul battery so your light can shine again.
Another great track from this 2 disc set is the track, “Sensational”.
(** I don’t know if you’ve followed them at all but since the lockdown Toya and Robert have been posting “…Sunday Lunch” videos that are weird, quirky and just good fun like when her and Robert dress up in bee costumes…. or when they dance Swan Lake in their back yard. Just a real hoot and a holler!)
JUNETEENTH. It’s not a “federal” holiday but it is recognized in almost all of the states/territories of the United States – the exceptions (shamefully) are Hawaii and South Dakota. For people outside the United States, Juneteenth is the day the last slaves were freed 2.5 years after the Emancipation Proclamation. Texas was the hold out and dared to keep slaves even though their freedom had been decreed years earlier. Next to Independence Day (July 4th) I can think of no better reason for a holiday than to celebrate the day when America ended the overt enslavement of it’s own citizens of color. My God, why is this not a National/Federal holiday already? But enough preaching.
Here is my Juneteenth playlist. Enjoy.
Let’s kick it off with Pharell Williams FREEDOM
A blast from the past Kool And The Gange – CELEBRATE
A classic; The Staple Singers – I’LL TAKE YOU THERE
Michael Franti – GOOD TO BE ALIVE TODAY
While African Americans formed the largest portion of slaves, it also included all people of color – including the various tribes of Indigenous Americans and hispanics. Buffy Saint Marie – CARRY IT ON
Redbone – COME AND GET YOUR LOVE
And even though we are in the midst of a cultural revolution – now is NOT the time to stop. Ozomatli – CAN’T STOP!
Shaun Martin – ONE BIG PARTY
Knowing the conversation that MUST continue to happen if we will move forward as a species. We must be fearless. The Neville Brothers – FEARLESS
A reminder of what it’s about and why we should celebrate – Cynthia Erivo – STAND UP from the movie HARRIET (based on the life of Harriet Tubman)
Bonus Track – reality check – We are still a long way from where we need to be in our evolution of humanity. There is still racism and bias. The revolution must continue.
Nina Simone – AIN’T GOT NO (from the musical HAIR)
... on being and becoming ... 