Child: Child of the Moon

purchase [Child of the Moon]

Without children ... we don't continue.
I've got one, only one, and that's not "replacement" level. At my reproductive level, if we all do this over time, we'll end up with no one on earth.
Without children ... well ... you know.

But, to zoom in on this week's theme: Here's a trivia question for you to answer: What is the B side of Jumpin Jack Flash?
Of course, to answer that, you need to know what a B side is. But if you're following SMM, you already know. That would be the flipped side of the Jumping Jack Flash 45 RPM vinyl disk that came out in 1968. (The "hit" went on the A side, and the B side had some kind of filler.)
So ... Child of the Moon is "filler". Of sorts. The song "backing" Jumping Jack Flash.

Among my limited collection of early LP albums were two from the Rolling Stones. The year being about 1967, the albums would have been <Between the Buttons> and <Aftermath>. Whereas Jumping Jack Flash appeared on album in the late 60s, Child of the Moon was left for later albums - kind of an obscure Stones song. Interesting to me is the fact that a Google search of <Child of the Moon> brings up a multitude of other references. I would have thought that "Child of the Moon Wikipedia" would resolve/result in the Stones as the first link. (They are - after all - the first) Not so. Child of the Moon, while not a major musical hit, has taken on a life of its own beyond the song: TV episodes and such riding on the name/fame.


Someone else said:
... [the song] actually feels closer to pagan curse than lyric poem, a mixed-bag mojo potion invocation of a dream lover pushed to ritualistic nightmare by the hoodoo “Rain” beat of Charlie Watts’ drums, Brian Jones’ hypnotic saxophone drone, Jagger’s own fixed-pitch chant vocals and Jimmy Miller’s deeply unsettling shouting in those murky opening moments.
[www.mojo4music.com/11843/rolling-stones-child-moon]
OK. Wow.

The song does appears to be a part of the Stones' acid journey - belonging more to the late 60s Satanic Majesty or Beggars Banquet than the mid 60s, when it came out. Must have been fast-lanes/ fast times in 1967-8.

As for lyrics:

Give me a misty day, pearly gray, silver, silky faced,
Wide-awake crescent-shaped smile
... child of the moon

The Moon: Belly Edition

Belly: Low Red Moon

Belly: Full Moon, Empty Heart

[purchase] (Amazon themselves don't even sell it any more!)

I have been entirely rubbish lately...I apologise for this. Just to totally take the piss, I thought I would sneak in under the wire with a quick moon-themed post (I have playlists in my iTunes for both sun and moon, I just didn't get around to it before now...it's been more than a week since I updated my own blog, I am that rubbish!).

Anyway, apologies over...here are two tracks from Belly - a group who, in my opinion, were greatly unrated and underappreciated, certainly in the UK. Belly were one of my very favourite 90s indie bands and they made two nigh perfect albums, Star and King.

I have a crap car that only has a cassette player in it (and one which doesn't even have a rewind button - you have to turn the tape over and fast forward!) and my tape with a Belly album on each side is so battered and overplayed that I am terrified that it is going to give out on me one of these days! That will be a sad day, as it has been much loved since I was 14. Yes, yes I have the music on CD and digitally, but where's the fun in that?!

Ok, diatribe over...enjoy the music!

Oh, and P.S. Have at look at the following link for more Belly (and related bands).

the moon: Moonlight Drive

The Doors: Moonlight Drive

[purchase]

A friend of mine and I talk music quite a bit.  We have had countless conversations about the best this and the best that.  Who is the best bassist?  What song has the best lyrics?  What is the best driving song?

At one point a few years ago we spent some time discussing what song(s) have the best guitar solos of all time.  I'm not really a fan of guitar solos myself, and neither is my friend.  His nomination at the time was Moonlight Drive by The Doors with the solo by Robby Krieger.  His reasons were pretty compelling:  The solo in this song is understated, it's short, and it is humble enough to add to the song without drawing too much attention to itself.

If you're a fan of Clapton, Hendrix, and Gilmour then you probably won't think much of Krieger's subtle, but effective, solo.  But for myself I have listened to it with much greater appreciation since discussing it with my friend.  Check it out and see what you think.

The Moon: He's Gone To The Moon

The Savages: He's Gone To The Moon

They call this rich kid rock sometimes, The Savages lived and performed in a resort town in Bermuda, but damn does it tear. They cut this Live N' Wild gem in 1965 during a live show, claiming they were so nervous all the songs were played too fast. It's impossible to find and ridiculously expensive on ebay. I highly recommend a visit to one of my favorite blogs, Garage Hangover, to check out the world's best Savages post.

Not for everybody's ears but I'll be damned if I let sound quality get in the way of their passion.

The Moon: Hey Moon

Bottle Rockets: Hey Moon [purchase for almost $100 used!!!!]

Speaking of the Bottle Rockets ... oh, you didn't know I was speaking of the Bottle Rockets? Check the Moonshiner comments, yo. Anyway, like I always say, there's always room for more honky tonk on Star Maker Machine. Like their mid-'90s contemporaries, the Backsliders, the Bottle Rockets were the kind of barroom band who could effortlessly veer between country and rock multiple times in a single set. Well, I shouldn't say "were" to imply that they're defunct. As a matter of fact, the band is celebrating their 15th anniversary this year. If you like your rock twangin' and bangin', check their MySpace page for dates and such. If they're playing near you, you have no excuses. If you'd like a little teaser, here's the current incarnation of the band doing one of my favorite BoRox songs, "Indianapolis," filmed in Germany in 2005.

The Moon: Moonshiner

Cat Power: Moonshiner

[purchase]

This song isn't properly about The Moon itself - it's actually about alcoholism. But, the term Moonshine is derived from our second brightest heavenly body.

According to my smartest friend, Wikipedia, many people mistakenly assume that the term Moonshine comes from the fact that illegal brewers of alcohol work at night, or under the light of the moon. However, it is actually a synonym for "nothing". "Mere Moonshine" is something that can't be held or touched and can barely even be seen. It is, "A matter or mouthful of moonshine; a trifle, nothing." So, when an illegal maker of alcohol is asked what all of that equipment is for he might respond, "It's nothing. It's just moonshine."

Quite a sad song which, given the last couple of lines, could have also been used during Hell Week.  I just didn't think of it.

The Moon: Nightgown of the Sullen Moon

They Might Be Giants: Nightgown of the Sullen Moon

[purchase]

I was away getting sunfried in a field for last week's Sun theme; happily, in my absence, guestposter Emma of Curiously Tasty showed up to share what I would have to agree is the definitive Sun song, at least as far as alternative nerdrock is concerned.

But They Might Be Giants look upward at night, too. And though, as the surreal title suggests, this song is less about its nominal astronomical subject as it is about the way the moon figures in our dreaming visions and walkabouts, I think this rarity, released on their 1991 B-sides and Remix collection, is an especially definitive precursor to the ultimate success and sound of the two Johns and their decidedly weird sensibility.

In fact, the pouncing homo-rhythmic, practically homophonic Nightgown of the Sullen Moon contains the seeds of much of what would become the culturally vast reach of They Might Be Giants, from the thrash-paced theme to Malcom in the Middle to the more plodding robotic carols and faux gleesongs that frame the Disney Channel's Mickey's Playhouse, which my kids love to explore online when I am trying to blog. Like those others, it is a great and catchy piece, short and sweet, with deceptively simple lyrics that are both a little bit cryptic and somewhat surreal. Like those others, the music doesn't so much provide a platform for the nasal singing of TMBG's lead singer-accordianist as it creates a parallel theme, for the sake of tension and interplay, which makes intermittent silence a natural part of the surprisingly playful musical environment that results. And like so many other They Might Be Giant songs, the song will stick in your head for days, following you in and out of your dreams.

Bonus: Of course, They Might Be Giants produce equally catchy nerdrock when they're talking about the escapist dreams of mental patients. Here's Destination Moon, from 1994 release John Henry:

They Might Be Giants: Destination Moon

[purchase]

The Moon: Moon Child

Jerry Jeff Walker: Moon Child

[purchase]

JJW's the man. You're on a long haul drive, or gearing up for the night, maybe just sad or something, flip on some music. If it's Jerry you're alright. Gets that spirit up no matter what. Even my lady loves him. Says "Jerry?" And then just digs in.

The Moon: Meta-Moon Edition

Moonlight Towers: Moonlight Mile [Rolling Stones]

Moonlight Towers: Marquee Moon [Television]

Today's exercise in meta-posting again comes from Austin, Texas. Moonlight Towers doesn't play out all that much ... meaning virtually never ... and their sound has changed a bit since these live tracks were recorded, but damn if this doesn't kick me in the green cheese. These tunes were recorded at a covers show back in May 2004, with Moonlight Towers, Li'l Cap'n Travis, and Grand Champeen each playing a series of 4-song mini-sets. "Marquee Moon" (posted earlier this week in its original form) may have been the highlight, mainly because any band with los cojones grandes to tackle it has earned props. Of course, Champeen's rendition of "Teenage Riot" was pretty f'in sweet, so maybe it was a draw. Anyway, if you'd like to check out Moonlight Towers, I highly recommend their first, self-titled CD. I think the band you hear here and the band recorded in the studio are pretty close.

Incidentally, Decoder Ring Design Concern made a totally badass poster for this show (pictured left). In the interests of supporting local businesses, as well as musicians, I cannot recommend these guys enough. If you're looking to spruce up your walls with mega-high quality poster art, you can't do much better than Decoder Ring.

In a final, related note, according to the Wikipedia, Austin, Texas is the only city in the world known to still operate a moonlight tower system. You may have seen the towers if you saw the movie, Dazed And Confused. Of course, there's a decent chance you were too stoned to remember the "party out at the moontower." But there you go. Get yer moon on.

The Moon: Must Be The Moon

!!!: Must Be The Moon

[purchase]


Is it !!! or Chk Chk Chk? I know how computers hate !!!, so it's sorta fun to use it. Brooklyn's Indie darlings have been around for a bit longer than a decade and have been invading dancefloors of late. Their website describes themselves as "Post-punk bass patterns, spaghetti western guitars, African polyrhythms, spaced out disco and vintage Philly soul". I think they forgot about the Tuvan Throat Singing. Enjoy - good stuff!

The Moon: Monkberry Moon Delight

Paul & Linda McCartney: Monkberry Moon Delight

[purchase]


After you hear, "I know my banana is older than the rest", you're reminded that Paul composed the music and John wrote the lyrics. McCartney's cheery Pop had a way of making one overlook that - like, wtf is a Monkberry Moon Delight? Check that, I don't think I really want to know.

The Moon: Howling At The Moon (Sha-La-La)

The Ramones: Howling At The Moon (Sha-La-La)

[purchase]


Y' know, every now and then, I think you might like to hear something from us nice and easy. But there's just one thing... you see we never, ever do nothing nice and easy, we always do it nice and rough. Away from the lullabies - Smithers, release The Ramones!

The Moon: I Don't Want to Live on the Moon

Ann Percival: I Don't Want To Live On The Moon

[purchase]


Once again, I would like to thank a favorite blogger for the wonderful music he has shared. This one comes from our own Boyhowdy's wonderful Covered in Kidfolk series on Cover Lay Down. And I also want get up on my soapbox for just a moment. Boyhowdy is one of three posters here, myself included, who I know have kids. And one thing we parents are constantly dealing with is trying to find music the kids will love, that we as adults can stand to listen to, or even, (dare I think it!), enjoy. So I'd like to suggest that we share our discoveries by having a week of kid's songs. This should include songs our little ones love that aren't necessarily written for children at all.

Now that that's out of the way, Ann Percival is a wonderful musician from Massachusetts, and one of the founding members of Wild Asparagus. I was introduced to Wild Asparagus as the best contradance band in the world. At this point, at least some readers have to be shaking their heads. "Wild Asparagus? Contradance? Is that some folk tradition from Nicaragua? What is he talking about?" So let me tell you a story.

Everyone I've ever asked about this had an unfortunate first exposure to square dancing. There was one teacher in elementary school who everyone hated, and she decided that all of the kids should learn square dancing in gym class. And she wasn't even the gym teacher, but she taught the square dancing anyway. For most people, this ruined the idea of square dancing for life. And I was almost one of those casualties.

When I was in my twenties, a good friend of mine from high school asked me if I would like to go to a contradance. Of course I asked, "what's that?" Everyone who knows starts their answer the same way, and it's the worst thing to say, "It's sort of like square dancing..." However, I trusted him, and because the invitation was to go with a group of people I liked, I finally allowed myself to be dragged along.

It turns out that square dancing and contradancing are two American folk dance forms that evolved from the English country dances that were brought to the colonies by early settlers. Where square dancing is what happened to these dances when they came to the South, contradancing is how these dances evolved in New England. In contradances, the dancers form two lines facing each other, with your partner facing you in the other line. Each couple dances with every other couple in their line as they progress up and down the line. And one thing you didn't learn in gym class, flirting is essential!

So I went to my first dance in a state of high anxiety, and, much to my surprise, I had a blast. I started going to every dance I could find, and I started making new friends. I was also getting great exercise. One new friend was a woman who ran a local square dance club. Now, where contradances are held with live music, club squares use recorded music, some of it pretty awful. Also square dance clubs involve dressing up in western wear, whereas the only dress code for a contradance is soft-soled shoes to protect the floor of the hall. So all my left over alarms from elementary school went off all over again. The argument that finally persuaded me to give club squares a try was, look what happened when you allowed yourself to try contradancing. Well, the results with club squares were even more spectacular; in short order, I met the woman who would become my wife. To this day, however, I would still rather go to a contradance.

So, if you ever get asked to go to a contradance, give it a try. Who knows?


Submitted by Darius

The Moon: Havana Moon

Chuck Berry: Havana Moon

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I was flipping through a whole playlist of moonsong, trying to find something to break up the lullabies, when I bumped into this and couldn't help but pass it along, if only to get it out of my head.

That's not to say that the song isn't a great work of art, of course. Sparsely performed in a jangly latinate rhythm, and delivered in falsified patois that is fully a product of its time, Havana Moon is a lusty tribal chant of devil rum and wishful thinking that never fails to remind me just how new and dark and sexy and exciting this style of music was once, to our parent's generation. Chuck Berry has a kind of Langston Hughes and Harry Belafonte meet Dick Dale and the Troggs in some Cuban backalley thing going here; I know that sounds like a train wreck of sound, but it works for him.

In fact, many believe that Richard Berry based the immortal rhythms and strum of Louie, Louie on Havana Moon. How's that for street cred?

Ganked originally from the everwise and mystical mix collaborative over at Motel De Moka, where it appeared as part of a retro playlist with an autumnal theme posted way back in October.


Afterthought: given the racist overtones, I figured that this was one of those songs, like "Thank Heaven For Little Girls", that you just couldn't credibly cover in today's oversensitive world, at least not without a heavy dose of irony. (Unless you're, like, Carlos Santana, circa 1983.) But just to prove me wrong, here's a spooky-sounding Paul Curreri taking a shot at an emotionally dissonant remake, and succeeding admirably.

Paul Curreri: Havana Moon

[this track and 50 other post-millenial coversongs of love from Paul Curreri and Devon Sproule available totally free right here]

The Moon: Money at the Moon

Matt Hartin: Money at the Moon

[purchase]

Back in Hell week, I thanked the author of one of my favorite blogs by posting a song he had given me. This might become a series for me.

Pete of Ickmusic has introduced me to some wonderful tunes, as well as sharing some esoterica concerning Bruce Springsteen and Prince. But I enjoy it most when he has an artist to share who is new to me. Matt Hartin was one of these.

From here, this post will be almost identical to the one Pete put up. That's because we both want to share the story of how "Money at the Moon" came to be written, and there is no reason to try to improve upon Matt Hartin's telling:

While attending an art gallery opening, a painting caught my eye. The title was Throwing Our Money at the Moon. I spoke to the artist, Jamie Frankie, who told me that he and his wife like to take their coin jar down to the big tree in the field behind their house when the moon is full. They make a wish and throw their money at the moon. Mrs. Frankie’s first name is Penny. Seriously. Thus inspired, the words just spilled out and were put to a melody I had laying around for a long time.

I had hoped to accompany this post with an image of the painting, but I could not find it. If anyone knows where to view it, please leave a link in the comments.

Submitted by Darius

The Moon: I Wish I Was The Moon

Neko Case: I Wish I Was The Moon [purchase]

As much as I wish Neko Case would get back to her rock 'n' roll roots, I can't deny her gift for the torch song. In fact, this might be the best song she ever recorded. The arrangement is dynamic without being overbearing, the band embracing Neko's vocals like a winter coat. Of course, when Joey Burns and John Convertino from Calexico are 2/3 of your band ... Jon Rauhouse on pedal steel is the other 1/3 ... sympathetic accompaniment is virtually guaranteed. Production-wise, the heavy reverb is a nice touch, giving the recording a timeless, almost retro quality. And what can you say about Neko's singing? She takes it to the house, providing perfect high harmonies for herself. Even the lyrics are suggestive in the best way, full of implication rather than declaration. All in all, it's an epic performance from one of America's loveliest and most talented singers.

The Moon: Midnight Moonlight

Old & In The Way: Midnight Moonlight

[purchase]

Some bluegrass records are more welcoming than others; the Old & In The Way record is like bluegrass bait for deadheads. Here's the scoreboard: Jerry Garcia, David Grisman, Vassar Clements, Peter Rowan, and John Kahn on bass. Definitely one of the first I would recommend, then it's just one more step to Muleskinner, the fascinating guitar work of Clarence White, the KY Colonels, then it's on to Doc, Bill, Ralph, and you're in for life.

This Peter Rowan tune has always been a favorite, one of the first that got me hooked.

The Moon: Livin' In The Sunlight, Lovin' In The Moonlight

Tiny Tim: Livin' In The Sunlight, Lovin' In The Moonlight

[purchase]

Wow, I gotta lotta great moon songs. And I thought the sun was going to win this battle. Here's one I wish I had the foresight to post as the transition song this week. God Bless Tiny Tim is a record that I honestly believe should be in everybody's collection. God Bless Tiny Tim.

The Moon: Silver Apples of the Moon

Morton Subotnik: Silver Apples of the Moon, part 1

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This piece defines the beginning of an evolution that I'm coming out the other end of now. I can see where it has led; I can see sort of an ending point. I can also see what made it fairly popular at the time it came out in relation to the pop world and the world in general. It sort of defined an approach to electronics that found its way into all sorts of media at the time, in terms of music and sound. I feel comfortable with it—I think it's really held up over all these years.

—Morton Subotnik

Time to go a little left of center for Star Maker Machine. This is an excerpt from composer Morton Subotnik's seminal 1968 work. While this was hardly the first piece of electronic music—the box set I took this from has tracks dating back to the 1930s!—it is noteworthy for being the first time a record label (Nonesuch) actually commissioned such a work.

A lot of the early electronic music was made by manipulating tapes and instruments like the theremin; for Silver Apples, Subotnik got together with Don Buchla to create one of the first synthesizers (Buchla was developing instruments concurrently with Robert Moog, sorta like Edison and Tesla). The resulting "Electric Music Box" (also referred to simply as a "Buchla") was the basis for Subotnik's composition. Beyond instrumentation, Silver Apples also distinguished itself from other electronic-based music of the era by paying more attention to rhythm and pattern—a lot of the early electronic music eschewed pattern altogether, more interested in the chance sounds resulting from the physical manipulation of the sounds' sources. I don't know that this excerpt is the ideal illustration of that fact—you can still hear a lot of that randomness here, though there are moments that indicate something more rhythmic going on.

As an addendum, I can only assume that this composition must have had a huge effect on the band The Silver Apples, who came together right around the same time and applied synthesizers to pop structures. Brendan did a great post on that band over at the Rising Storm.

The Moon: Calling The Moon

Dar Williams: Calling The Moon

[purchase]

I saw singer-songwriter Dar Williams on the Falcon Ridge Folk Festival mainstage just a few nights ago, and to be honest, the stage lights kind of swallowed her up, there in the darkened cowfield. Maybe it's just my preference for smaller venues and closer seating, and I will admit that the majestic annual tradition of bringing her friends and family on stage to see the thousands of lit, waving audience lightsources during her encore was as powerful as always. I just think the intimacy which Dar brings to her live one-voice-one-guitar performance doesn't translate to such a huge crowd.

This is nothing against Dar, mind you. As I discussed in a more substantive post on Dar Williams over at Cover Lay Down way back in December, though it took me a while to warm to her feathery voice with its unique break, I've fallen in love with her work over time, and consider her one of my favorite singer-songwriters. Though she got her start in the coffeehouse scene, these days, Dar Williams' feet are firmly planted in the same worldchanging folkpop soil as Shawn Colvin, Ani DiFranco and Jonatha Brooke, and she shines in her element. She writes a mean hook, and deserves more radioplay than she gets for it.

Still, in my quietest moments I prefer her earlier, more introspective ballads, and this is one of the best of 'em, thick with empathy and attuned to the natural world as a reflection of the internal self, a perfect introduction to that which makes Dar's fanbase so strong and cool and committed, all at once. Here's hoping this timely track makes you a believer in Dar, and in the power of the moon, as well.

Want more? Today's bonus coversong comes from Dar's fellow musician and Cover Lay Down fave artist Richard Shindell, a great performer who is never afraid to tackle a song with strong feminine and pagan overtones.

Richard Shindell: Calling the Moon (orig. Dar Williams)

[purchase]