Happy Birthday to Star Maker Machine

On this date in 2008, a blog formerly known as "Six Songs" was renamed "Star Maker Machine."  Here's the first SMM post.

As we start our seventh year, we will be celebrating our history while looking to improve and reinvigorate SMM for the future.  More details to follow soon.

Russia/Ukraine: Rocket to Russia

The Ramones: Sheena is a Punk Rocker
[purchase]

A bit of a cheat here, because the theme reference is to an album title, not a song, but honestly, when I first heard the theme, this is what came to mind. The third studio album by The Ramones, it was released in 1977, when the Cold War was still in full swing, so the picture on the back cover, of a “pinhead” riding a rocket from the U.S. to Russia, was pretty provocative. And the original artwork is currently in the Rock and Roll Hall of Fame. The album showed a bit of growth for the band, with some slower and poppier songs, and includes a number of classics, including “Sheena is a Punk Rocker,” and a couple of covers.

Actually, this is really an excuse to write about Trenton’s City Gardens, a somewhat legendary (mostly) punk club that closed in 1994, but is currently in the midst of a wave of nostalgic publicity. I’ve written about the club a couple of times, here and here, as has my fellow SMM’er, Central New Jerseyite Darius, here and here. But what is feeding the renewed interest is the recent publication of No Slam Dancing, No Stage Diving, No Spikes, an oral history of City Gardens, which you can buy here, and the soon-to-be released film, Riot on the Dance Floor. You can see a trailer for the movie here. Earlier this week, one of the authors of the book was on The Daily Show, being interviewed by former City Gardens bartender Jon Stewart, along with Gibby Haynes of Butthole Surfers, who appeared at the club, often with disastrous consequences.

No Slam Dancing is a fascinating read about a club that was, for the most part, the lone outpost of punk and new wave music between New York and Philadelphia. The anecdotes from club management, particularly the brains behind the operation, erstwhile mailman and DJ Randy “Now” Ellis, employees, regulars and musicians give an interesting insight into the 1980’s punk scene, in the era before you could hear anything and find out about anything on the Internet.

One of the key points that keeps getting made in the book, and in the interview with Jon Stewart, is that City Gardens, despite the fact that it was a dump, and dangerous, provided a haven for disaffected fans and musicians, a safe place (psychologically, if not always physically) for outcasts. And I’m glad that it served that function. I have to say, though, that my experience was a bit different. First, I was going to shows there in 1981 and 1982, before the more hardcore and skinhead bands began to play, so while I do remember it as being a shit hole, I never felt any danger in the club. Outside, maybe, but not inside. Second, I was a Princeton student and college radio DJ who was coming to hear music that I liked, not to find a tribe of fellow punks. I usually got in for free, sometimes got to interview the bands and even introduce them on stage, so I didn't qualify as a disaffected youth.  As a result, some of the nostalgia for City Gardens as a refuge is beyond me, but I certainly have very warm feelings for the place.

It was fun seeing references in the book to shows that I attended and to WPRB (although not as many as I would have expected). I’m particularly fond of Randy’s discussion of driving members of Romeo Void to do an interview at the station, drinking beer with them in the car before the interview, and having to pull over to allow singer Debra Iyall to “piss behind a tree.” It explains her truly obnoxious behavior during the interview that I tried to conduct, including her blurting out profanities and doodling penises on scrap paper. And makes me wonder why she didn’t just wait until she got to the interview to use the Holder Hall basement toilets, which, while not luxurious, were better than squatting behind a tree. But she was a piece of work.

To bring it back to the Ramones, one of my favorite City Gardens memories was getting the chance to interview Johnny Ramone backstage along with one of my fellow staffers, Chuck Steidel, before getting to introduce the band from the stage. Although not a life event as important as, say, my marriage or the birth of my kids, the chance to stand up in front of an audience and say, “Ladies and Gentlemen, The Ramones,” probably still makes my top ten.

RUSSIA/UKRAINE: Moskau

Rammstein: Moskau
[purchase]

Reveling in gritty imagery, fiery demonstrations of power, and constantly overt sexuality, Rammstein are no strangers to mixed messages. Vocalist Till Lindemann loves allusion. In the song "Dalai Lama," for instance, the old Danish folk tale "Erlkönigs Tochter"is commingled with the Dalai Lama's fear of flying. In the lyrics of "Moskau," the recontextualization happens between the city and the appearance of a prostitute.

Lindemann's gravelly, German vocals are contrasted by the sharp, crisp Russian chirps of Viktoria Fersh, who sings "Это песня о самом красивом городе в мире. Москва!"("This song is about the most beautiful city in the world. Moscow!") while Lindemann adds "Sie schläft mit mir doch nur für Geld / Ist doch die schönste Stadt der Welt" ("She sleeps with me but only for money / It's still the most beautiful city in the world"). (full translation from Herzeleid.com)

Russia's notorious political favoritism, cronyism, and nepotism suffered no diminishment during the recent Winter Olympics, an apt reminder of Lindemann's fitting commentary from the 2004 album Reise, Reise.

RUSSIA/UKRAINE: Yes, "Siberian Khatru"

Yes: "Siberian Khatru"
[Purchase]

During my junior high and high school years in the late '70s and early '80s, I became something of a Yes fan, probably primarily because a few of my close friends were into them. I'm pretty sure I liked "Roundabout" prior to that anyway, but this more extended exposure hearing my friends' albums gave me an appreciation of some of their less radio-friendly fare. I grew to know all of their album titles -- I'm pretty sure I could even list them in the correct order -- even if I didn't care for all of them to the same degree as my friends. To this day, hearing such album names as Tales from Topographic Oceans will always evoke an immediate visceral reaction flashing me back to that period of my youth. Not that I progressed much farther into the prog rock scene than Yes, a (very) little Emerson, Lake, and Palmer, and, later, some Rush. Even prior to the punk explosion, I could tell that almost by definition, much of prog rock was pompous and bloated. I only cared about the bands among them who managed to blend something of an appreciation for pop hooks into their pretentiousness. I didn't need to hear bands trying to rewrite classical symphonies for rock instrumentation; if it didn't have some form of hook, I quickly lost interest.

Which is why a handful of Yes's albums appealed to me: The Yes Album, Fragile, and Close to the Edge, the three albums I ended up growing to love, all have their share of great hooks. And my favorite songs were scattered across the albums, so they ended up drawing me into the more long-winded songs that might not have otherwise grabbed my attention. "Siberian Khatru" was most certainly one of those, a sprawling epic of a song, much like its namesake geographical region, dominating a massive portion of Russia. The song, despite its nearly 9-minute length, moves along at a brisk pace and keeps coming back to Steve Howe and Chris Squire's hooky riff and Jon Anderson’s melodious singering. (Just made that term up!) I certainly don’t know how I’d feel about it if I hadn’t had the appreciation for the full Close to the Edge album (from 1972), but for those not familiar with the album, this fact might be of interest: “Siberian Khatru” is the shortest song on the album! Side 1 contains a single, 18-minute track, and Side 2 kicks off with a 10-minute multi-part song, making the third and final album track, “Siberian Khatru,” seem like a radio-ready single by comparison.

RUSSIA/UKRAINE : THE CRIMEA - WHITE RUSSIAN GALAXY

Enlivened by the extension of this theme a further week, I decided to investigate a truism, at least on this side of the sea, that being that you can add "the" to literally anything, and come up with the name of a british indie band. (Add an incongruous adjective and you have an american garage band of the 60s). So into google I go and, lo and behold, not only is there a group called the Crimea, but they also produced a song called "White Russian Galaxy"! How cool is that? Here it is. It is even quite good, with a lively video, somehow a cross between, visually, Low and, bizarrely, the heads rocking part of Boho Rhapsody, which, seeing as I dislike Queen muchly, I will show only in parody. Sonically, of course, it is like neither, but has a certain minor charm. I would love them if I had bought this as a single in 1986. Unfortunately it came out in 2003. But ignore my faint damnations, it's OK. Really.

Buy it here

Reading about them, it seems they managed a good 10 years of, broadly, disinterest, outwith the support of maverick british DJ, John Peel, champion of the unwashed and unsustainable. They had a brief major label surge in 2005, following appearances at the SXSW. 3 well applauded singles, including the one showcased above, and a solitary album came out before Warner Bros dropped them, a year later. So much for nurturing promise and talent. However, undogged, the band put out a 2nd disc as a free download. And it is still available, here , at the same price. I know, 'cos I did it last week. It shows some progression from the more frantic earlier songs. And, to continue a russian theme, the original download version had Regina Spektor, spooky soviet goth chanteuse, on spoken interludes. (The current link is one re-recorded for better sound quality, it seems.)

A final release came out last year, the day before they announced they were calling it a day. Somehow I can see them as being rediscovered, 20 years hence, as there becomes an outpouring of all the other "the" bands of that day. Maybe if "Nuggets" celebrated the lost american 60s garagebands, this future retrospective could be called "The Nuggets."

RUSSIA/UKRAINE : RASPUTIN

Yes, that one! OK, OK, corny as heck, but dont'cha just love it? Luckily I am not referring to the wretched Boney M but to the rather excellent cover version by Minneapolis folk-punks Boiled in Lead, who for a short period in the 80s were a name to drop to shock in purist folk circles. Astonishingly, it seems they still survive, having just played their 31st consecutive St Patricks Day concert, still with the same central core of original members, ablaze with fiddle, dulcimer and mandolin. And drums. Loud drums, bass and electric guitars. It's true, I haven't heard any new material  since about 1990, but intermittent offerings have appeared as recently(!) as 2008. Whilst they often have been bundled into a celtic rock bag of convenience, this is in fact somewhat unfair, as their influences were a whole lot more diverse, incorporating eastern european, asian and even african themes on occasion. Indeed, I suspect it may have been their very eclecticism that failed to ignite them into a greater league. Be that as it may, Antler Dance, the record from which this comes, was their sharpest blade, scything away any sense of smug unitarianism.

I suppose I better let you hear the track. Annoyingly, in these post "DL" days, where the you tube is the universal portal of accessibility, this song is not currently available thereby. I'm sure it used to be, as I distinctly recall posting it in the blogboard I (shamelessly plug and) scribble into far often than I ought, a year or so ago. anyhow, gone now. But, it is available here via a server of what wiki calls controversial legality. Given the song seems lifted from a free coverdisc attached to FRoots magazine, my conscience feels relatively clear. Hell, I bought that very copy of this commended magazine, and also a copy of the aforementioned LP it came from.

Buy the LP (or you can download from i-tunes)

Now, what does it say about the current Russia/Ukraine Crimean punishment? Well, precisely nothing. I don't even know what Ukraine may have been, countrywise, prior to the russian revolution. I was, however, intrigued that the announcement made following the Crimea poll was announced by a statue of Lenin. I was surprised any were left in the ex-soviet sphere. I suppose we should be glad it wasn't Stalin.
Bit more BiL? This is my favourite song of theirs, and is probably balkan. It's called Cunovo Oro.

Russia/Ukraine: Koroleva Ne Pomerla (The Queen is Dead)

The Ukrainians: Koroleva Ne Pomerla (The Queen is Dead)
[purchase]

Punk and traditional folk music are far from strangers. Bands like the Pogues or Flogging Molly have married their brand of rock to Celtic music. And Uncle Tupelo and their disciples fused punk sensibilities with American folk. You can find other examples in probably every culture, from Mexican, to Indian to Japanese and African.

And why should Slavic music be any different? I’ve never been in a band, but I have read my share of stories about bands, and it often seems that something that happened at a sound check leads a band into a direction that it never expected. Whether it is a different version of a song, or a killer cover that later becomes part of the set list, or an unexpected cameo by a roadie, it seems that the looseness of the sound check opens up possibilities.

The Wedding Present were formed in Leeds, England in the mid-1980s, and were grouped with other, similar jangly guitar bands of the day as part of the “C86” scene. They achieved some popularity in England and a little fame in the US, mostly on college radio. One day, spurred by guitarist Pete Solowka, whose father was Ukrainian, they started playing the traditional Ukrainian song “Hopak,” during rehearsals and sound checks. After a well-received performance of the song on the influential BBC DJ John Peel’s show, the Wedding Present added a singer and violinist (“The Legendary” Len Liggins) who actually spoke Ukrainian, and a Ukrainian mandolin player (Roman Remeynes), to create a series of Ukrainian Peel Sessions. I’d note that is definitely the most times I have ever written the word “Ukrainian” in a single paragraph.

Flush with enthusiasm for his roots rock, Solowka decided to leave the Wedding Present and formed The Ukrainians with Liggins and Remeynes, and in 1991, they released their self-titled debut. The next year, they released an EP of Smiths covers, one of which, “Koroleva Ne Pomerla (The Queen is Dead)” also appeared on their second album, Vorony (“Ravens”, I think).

On a side note, my grandmother Frieda was born in a shtetl called Solutvina in what was then the Austro-Hungarian Empire. She and her family fled when she was a young girl to escape the violent anti-Semitic pogroms of the early part of the 20th Century, so she was long gone before the town was essentially wiped off the map during World War II. That part of the world bounced between Ukraine and Poland, and is currently in Ukraine, near the city of Ivano-Frankivsk, a couple of hours' drive, when traffic and civil unrest allow, from Lviv. So, I have roots in that country, even if I am not ethnically Ukrainian.

Remarkably, The Ukrainians turned out to be more than a joke, releasing five studio albums and a number of live albums and EPs over the years. They continue to gig, and their website currently has a message, and a couple of songs, in support of the Ukrainian people and their struggle. So, check them out, and Рок на! (which according to Google Translate, means “Rock on!”).

Russia/Ukraine: Samovar Russian Folk Music Ensemble

Samovar Russian Folk Music Ensemble: Hopak Ukrainian Dance

Samovar: Samovar
Samovar: Samovar
Samovar: Samovar
[purchase]

I like listening to ethnic dance music because it inspires me. I hear melodies built on scales not common in western music. I perk up when tempos change. I imagine dancers moving to unique rhythms. Often called the "National Dance of Ukraine," the Hopak isn’t constrained by tempo or melody. That’s probably because it’s supposed to evoke improvisation that allows dancers to express themselves. They also usually end fast and furious, some even with lively Ukrainian marches.

When I first heard the Samovar Russian Folk Music Ensemble, it brought back memories of my many visits to the Northwest Regional Folklife Festival at the Seattle Center. That’s where I first heard the emotional, danceable tunes from the Ukrainian tradition. Based in Washington, D.C., the Samovar Russian Folk Music Ensemble formed in 1996. They play at venues like the Smithsonian, Hillwood Museum and Gardens, Russian Embassy and Ambassador's residence. Whether serving up polkas, waltzes, hopaks or songs, the group has established a cohesive sound emphasizing vocals, balalaika and accordion.

The two women vocalists (Anya Titova, Olga Rines) are folklorists with a strong calling to preserve messages of their traditional musical heritage. On their 2007 album, Some More of Our Best, songs are driven by feelings of the heart, with many allusions to the trees, river, garden, moon, fields, flowers, sea and wind. In some cases, these natural elements calm one's heart. In other cases, they serve as parties in conversations and lyrical discourses that may question or provide advice. The CD jacket includes both Russian (and English translations) for all of the songs.

Instrumentally, Samovar features Michael Nazaretz (accordion), Yelena Rector (prima domra), Rick Netherton (contrabass balalaika), and Ilhan Izmirli (alto balalaika, guitar). Netherton's showcase piece is "Korobushka" (Little Peddler Box) with his walking bass line and a featured break. The spotlight shines on Nazaretz when he becomes the sole accompaniment to Anya Titova's singing of "Odinokaya Garmon" (Lonely Accordion) that poignantly asks "Why are you roaming the whole night alone? Why are you keeping the girls awake?" The CD's closing tracks refer to gypsy songs. Samovar probably enjoys going to the forest where they can sing, dance, drink wine and eat borscht and caviar by a river.

The Hopak has parts where solo dancers, usually male, perform amazing acrobatic feats such as jumps, kicks, squats and spins. Other parts have everyone moving in unison. As in many Ukrainian dances, the dancers, especially the women, don’t stop moving until the dance ends. Because of the energy required to perform a successful Hopak, the dance is usually performed at the end of a program. Accordionist Nazaretz tells me that their arrangement intersperses the basic folk tune with three interludes, all written a decade ago by their mandolin player at the time, Alex Gakner. (Alex celebrated his 90th birthday in March, 2012. Happy Birthday Alex!)

Russia/Ukraine: Iveroni

Iveroni: Iveroni

[purchase]

The Republic of Georgia was in the headlines in 2008, and it wasn't in regards to their music. I first heard Iveroni’s music at the very same time that Russia was aggressively invading the small, independent, pro-Western democracy to subordinate it and remove its freely elected President. After it arrived in my mailbox from their U.S. distributor, Beauty Saloon Music based in Belmont, MA., I immediately put on their album and said a prayer for the refugees who were being forced to flee from their homes in the South Ossetia and Abkhazia regions. 

Regardless of the tense situation in their homeland, Iveroni is a group of five young talented musicians (Roman Lashkhia, Gieorgi Chikovani, Davit Batiashvili, Davit Gogitishivili, Beka Tcertcvadze). Their instruments are the panduri, bass panduri, salamuri, and changuri. Their traditional songs emphasize vocals, and they relate stories of love, heroism, and brotherhood. Producer Nathaniel Berndt traveled to the old city of Tblisi to record Iveroni on location. Additional liner notes would've been nice to explain more about this group, their music and songs. 

That war with Russia left Georgia's countryside scorched by bombs and tank fire, and I wonder if Iveroni has songs that portray hope and optimism in such dire circumstances. Music often soothes the soul, provides assurance, and it can also inspire people to action. Peace and freedom were eventually restored to the Caucasus Mountains and Russian forces withdrew. We can only hope that the present conflict in the Ukraine is quickly brought to similar resolution.

Russia/Ukraine: Back in the USSR

[ The original TBCOU version -  Back in the USSR]
[ Purchase: Paul McCartney-Back in the USSR]
[ Purchase: current TBCOU version- Back in the USSR]

We've got both covered in the post: Russia and the Ukraine.

I'm crazy about Creative Commons. Create something and share it with the world while you keep the rights you want to keep. For 185 weeks, from 2009 to 2012, every Tuesday the Beatles Complete on Ukelele project released a new Beatles song under a Creative Commons license. Each "cover" included a ukelele among the instruments. I think it was via BoingBoing that I must have first learned about this and then religiously visited the site and downloaded each new [legally] free addition to the collection.

Some were better than others, but it is a collection that I am glad to "own". One of them, of course, was "Back in the USSR". "Own" is in quotes for two reasons: at the conclusion of the stated project wrapup date, the link to the online files became purchase files. That's their perogative I guess, but it leaves me wondering if the files I once-upon-a-time legally collected are now illicit. The second issue that leaves me wondering is that the original Back in the USSR version has been replaced with another that - I'm sorry - is nowhere near as good as the first.

Although I have my own copy of the first, I assume that whatever rights I was given when I saved my own copy back in 2009 do not confer "sharing online rights". However, I scoured the web and found a way to link to the relics of the TBCOU project in the form of an mp3 version they left active but not visible in their "podcasts". Not only have they left it online, but there are links to the "liner notes" from the original posting. They are worth reading. Let me tantalize you with an excerpt:

Presciently, the song begins with the sound of an approaching jet engine, prefiguring 9/11, the 21st Century, and calamity in general. The entire song has jet engine Doppler effect sound design throughout. It’s Scary up there on the Scareplane.

Another drastic disaster occurred the day this song was recorded. Ringo quit the Beatles, left the studio in huff, and went home. Paul’s reaction? He played the drums on Back In The USSR himself.

I cant begin to do justice to those notes: the relationship between the ukelele and the balalaika ...  just follow the link.

Scrabble Value Letters (Z): Zomby Woof

 

[Purchase Asphalt Orchestra - Zomby Woof]
[Purchase Frank Zappa - Zomby Woof] 


I learned about Frank Zappa in college, though I had heard "Don't Eat the Yellow Snow" on the radio once before when a disc jockey made fun of it. I liked it anyway.

So Apostrophe and Joe's Garage (Act One) and Chunga's Revenge are favorites of mine for their combination of juvenile humor and complex musicianship, Then I lost interest in the man, even if I still bought a number of his albums. He became more of a misogynistic misanthrope to me than anything else--doesn't he like anyone or anything?

When this topic came up, I searched through songs I had in old playlists and the word "zombie" came up. Zombies are a hot topic in movies and TV shows and songs, of course. I considered posting a few that approached the subject from different angles.

Then this song popped into my head. The Frank Zappa and the Mothers version is off Over-Nite Sensation, which has a lot of great tunes, but also some of his rudest, most sexist lyrics. The album version starts out with Frank falling asleep and transforming into Ricky Lancelotti's crazed zombie/wolfman sex fiend, with Tina Turner and the Ikettes on backup vocals (uncredited on the album).

I figured I would check for You Tube videos. There are the requisite guitar jams; they are fine, but just not my cup of tea. And there is the video above. Crazed street musicians taking on the master?

It turns out the Asphalt Orchestra is an offshoot of Bang on a Can, the New York City "new music" promoters..They are professionals, looking like they are having a lot of fun. You have to see it to appreciate it, and man, I do.

At this moment, the Asphalt Orchestra has a Kickstarter Project to record their version of the Pixies' first full LP Surfer Rosa. It might not get funded, but we have not heard the last of them.
The Asphalt Orchestra is a 12 member post-modern "marching band." They have worked with other musicians such as David Byrne, St. Vincent, and Brian Eno.

by Paul Tessene

(SMM welcomes Paul and looks forward to reading his regular postings in his own name starting after this post on his behalf)

Scrabble Value Letters (X): X-Ray Style

Joe Strummer and the Mescaleros: X-Ray Style

Joe Strummer and the Mescaleros: X-Ray Style (live)

[purchase]

Who knows? Maybe I will still get to my first idea for our current theme, a song starting with Z. But Z has been well represented, so I wanted to see what could be done with X. I‘m glad I looked into it, because X-ray Style is a fine addition to our theme.

Joe Strummer is justifiably best known as a founding member of the Clash. That’s understandable, since the Clash lasted for ten years, and nothing else Strummer did had the same popularity or influence. After the Clash broke up, Strummer did solo work, acted in films, worked on soundtracks, and was an occasional member of the Pogues. But the Mescaleros were the other band that Strummer really made his own. X-Ray Style is a good introduction to what this band was about. Strummer’s political concerns were a constant in all of his work, including the acting projects he chose, and X-Ray Style once again displays Strummer’s concern for the downtrodden in various societies around the world. The music has a tropical feel, and is a continuation of the global musical exploration Strummer had begun with the Clash albums London Calling and Sandinista. What I find most interesting though is Strummer’s approach to the vocal on X-Ray Style. I have presented videos for both the studio and a live version for a reason. The song comes from The Mescaleros’ first album, and Strummer is trying to decide how to present himself. The punk shouter of the past is gone, he seems to be saying, and his vocal on the album is restrained at first. Strummer seems to be saying that this is more thoughtful music, and he wants us not just to react viscerally, as we once did to his music, but now he asks us to think as well as feel. Still, this is Joe Strummer, and he was always passionate about what he did. His vocal gains more bite as the song proceeds. I assume the live version comes from a time when Strummer had lived with the song for a while, and also gained greater comfort with his new band. It’s a plugged in version that loses none of the wonderful lilt of the original, but Strummer begins with more of an edge in his voice, and gets more intense as the song goes on. He never reaches the all-out abandon of his Clash vocals, but the live X-Ray Style sounds more like the same singer.

Scrabble Value Letters (Z): Zip City

Drive-By Truckers: Zip City
[purchase Southern Rock Opera]

There is one member of my family who would be disappointed if I had the chance to write about songs that begin with the letter Z and didn’t write about “Zip City,” maybe my son's and my favorite Drive-By Truckers song not written by Jason Isbell.

In the early days of the Truckers, Patterson Hood dominated the songwriting, but Mike Cooley’s smaller output was often more memorable. I once saw a quote from Hood somewhere in which he essentially said that he wrote tons of songs, not all of which were great, and that Cooley wrote fewer songs, and they were all great. I can’t find the damn quote, but I know I saw it. And if you look at the commentary that Hood writes about all of the band’s albums, he invariably refers to a Cooley song as his favorite on the album. Sure, there is a bit of modesty there, but I honestly believe that Hood is sincere.

The new English Oceans, released today, has 13 songs, 7 by Hood and 6 by Cooley—but for the first time, Cooley sings a song written by Hood. Stuff like this is just manna for fans. I could have streamed the new album, but I’m waiting for my CD to arrive (hopefully in today's mail) before listening to it. I’ve liked what I have heard, so far.

But back to “Zip City,” from the Truckers’ breakthrough album, Southern Rock Opera. This was the album where a band that wrote songs like “The President’s Penis is Missing,” matured into one of the great American rock bands. Using a slightly fictionalized version of the Lynyrd Skynyrd story as a jumping off point to discuss perceived misconceptions of the South, modern southern mythology and the power of rock ‘n’ roll, it is an album that grows on me every time I listen to it.

“Zip City” is probably the Cooley song that fans most want to hear, and I think the band plays it at most every show (the version I posted is from a 2010 show at Webster Hall in New York that I was lucky enough to attend). And it is great live. Despite that, being somewhat of a contrarian (polite for “smartass”), the song is omitted from Cooley’s live solo album, The Fool on Every Corner,” which was released in late 2012. And it wasn’t like he didn’t play “Zip City” during the live performances that were used to create the album. Here’s proof. He just chose to leave it off.

What makes “Zip City” such a great song? Start with the story—although at the base, it is a classic tale of teenage lust, there is a twist. The seventeen year old narrator displays incredible maturity—he knows that he is never going to marry the girl, and he resignedly tells her to keep her drawers on, because it just isn’t worth the fight. And add to that the overlay of the narrator’s recognition of the hypocrisy of his girlfriend’s father, a church deacon, and the subtle references to the aimlessness and boredom of the narrator’s life. But then there are the lyrics, which are typically brilliant. For example, after telling his girlfriend that she should keep her drawers on, the singer predicts the dead end life his girlfriend faces:

By the time you drop them I'll be gone 
And you'll be right where they fall the rest of your life. 

The bleakness doesn’t stop there—Cooley describes her family like this:

Your Daddy is a deacon down at the Salem Church of Christ 
And he makes good money as long as Reynolds Wrap keeps everything wrapped up tight 
Your Mama's as good a wife and Mama as she can be 
And your sister's puttin' that sweet stuff on everybody in town but me 
Your brother was the first-born, got ten fingers and ten toes 
And it's a damn good thing cause he needs all twenty to keep the closet door closed 

I particularly like his description of the closeted brother.

There’s more, but better you should listen to the song, which, according to Hood is “90% true and is my personal favorite song on the album.”

And, if you want to learn more about the actual locations in the song, and see pictures, check out this blog.

Scrabble Value Letters (Z): Zydeco Honky Tonk

Buckwheat Zydeco : Zydeco Honky Tonk

[Out of Print]

     You don't have to be born in a bayou to appreciate this swinging instrumental from Buckwheat Zydeco's 1987 album On A Night Like This. It has been called the most important zydeco album ever made. Not the best. But the most important. With covers of tunes from Bob Dylan ( "On a Night Like This") , The Blasters ("Marie Marie"), Booker T and the MG's ("Time Is Tight")  and the great Clifton Chenier ("Ma 'Tit Fille"), On A Night Like This broke new ground for zydeco music... beginning with a record release party like no other.

   It happened at the Island Records 25th Anniversary Concert . With no notice, Stanley "Buckwheat Zydeco" Dural Jr was shoved on stage with Eric Clapton and Ringo Starr. "Buck" sat at his Hammond B-3 organ.  Sharing his bench was In a Night Like This producer GeorgeFox who recalls what happened in Michael Tisserand's book The Kingdom of Zydeco:

   Ringo is like six feet away on the right, and he's looking over like "What the fuck is this?" And Clapton was maybe five feet in front of us, and Buck gets up there, and Clapton does this solo, and Buck played it on the organ and bumps it up a notch. And Clapton plays what Buck has just played, and he bumps it up a notch. And they're getting into this furious cutting contest, and Clapton hasn't even turned around at this point . And all of a sudden four thousand people are screaming , and Eric just stops playing, and he turns around and he puts his hand out to Buck and says "I'm Eric Clapton. Who are you?" It was just one of those kind of moments.

   Now that's the beginning of a beautiful friendship. Buckwheat Zydeco would soon be touring with Clapton. The album would make many critic's top 10 lists and, by 1988,  you couldn't sit through a TV commercial break without hearing zydeco. Buckwheat Zydeco performed at both Clinton inaugurations and during the Closing Ceremonies of the 1996 Olympic Games in Atlanta. You can hear his music in The Big Easy and Adam Sandler's The Waterboy .At 66, Buckwheat Zydeco is still going strong.

Scrabble Value Letters (Q): Question

Old 97’s: Question [purchase]  

Rhett Miller: Question [purchase]

The song that I chose gives me a couple of things to write about, neither of which is really about the song, although we will get to that eventually.

First, as someone who loves to listen to music, it is important to me that my family also loves to listen to music, and that turned out to be the case. My wife has often said that she knew that we were truly a couple when we alphabetized our albums (vinyl!) together. As I have previously pointed out, our musical tastes are somewhat different, but the overlap in our Venn diagram (called the “intersection,” according to Wikipedia) is big enough that we rarely fight about music. I do complain sometimes about getting snared in the sticky trap of my wife’s favorite Sirius XM’s “The Bridge” soft-rock station, and she complains about some of the harder edged things I like, and some of the jazz, and some of the prog, but we have a nice sweet spot of common likes.

When we had kids, we heard horror stories of parents being “forced” to listen to children’s music in the car, and in reaction, I created mixtapes that included the occasional kidsong along with good grownup stuff. And when our children became old enough to have their own tastes, we tried hard to be supportive. I never told my kids that something they liked was crap; instead, I tried hard to say what I liked and what I didn’t, and I think that helped. Both of my kids have turned me on to bands that I truly like, and in some cases I introduced them to artists that I liked, and they loved, which led me to appreciate them more.

The Old 97’s is a band that everyone in my family likes, and for good reason—they are great. We’ve seen them live and enjoy their great mix of Texas twang, power pop, clever lyrics and tight playing. I’ve previously written about how and why we became fans, so I won’t belabor the point, except to reiterate how great it is to share the love of music with your wife and children.

The second thing I wanted to discuss is what I will call the self remake, for lack of a better term, where an artist releases a different version of one of their own songs. I’m not talking about a live version, but when an artist takes a song and releases it changed in some way. The Rolling Stones, for example, released “Country Honk,” which completely reimagined “Honky Tonk Women” in an interesting way. Other times though, doing this leads to failure. The Police decided to re-record the perfectly fine, if creepy, “Don’t Stand So Close To Me” for a greatest hits compilation, and the newer version is just not good. Not only that, according to drummer Stewart Copeland, his fight with Sting over what synthesized drums to use on the track (the right answer would have been “none”) was the last straw in breaking up the band. Other artists have remade their own songs for copyright reasons and/or to just revisit older work with the perspective of a long career, such as John Prine or Loudon Wainwright III.

The original version of “Question” was released in 2001 on an Old 97’s album, Satellite Rides, in a very stripped down version with just Miller’s voice and acoustic guitar. The simplicity of the music fits well with the straightforward message of the song—that there is a time to say yes to love. The question at issue is a proposal, and this version was used in the TV show Scrubs when Carla says yes to Turk. People even propose on stage at Old 97’s shows when the song is played.

Personally, I like the original version, and despite my love of covers, I really see no reason why Miller needed to do a new version of the song on his 2006 solo album, The Believer (along with a new version of “Singular Girl,” a Satellite Rides bonus track). It isn’t bad, but it adds a wholly unnecessary keyboard part, and other additional production that doesn’t add to the song. I suspect that if I hadn’t heard the original, I’d love the remake, but I have, and the remake is kind of superfluous. When the whole band plays the song live, they still keep it simple, but sometimes Rhett gets fancy and sings some of the song in French, which I guess is the language of romance, but kind of makes Miller look like a show off.

Scrabble Value Letters (Z): Zawinul/Lava

Brian Eno: "Zawinul/Lava"
[purchase]

Brian Eno has been an influence on me since before I even knew who he was. As an extremely amateur high school hard rock musician, I sought early exposure through the freshly founded GarageBand.com (which later licensed its name to Apple for use on recording software). At that time, one feature the site offered musicians was to have uploads critiqued by professional musicians. During the registration process, users scrolled through an extensive list of names to choose from. Being the ignorant, malleable ball of brain clay that I was at the time, I only recognized one name on the list, and I couldn't quite put my finger on where I had heard it before: Brian Eno.

That was the name I picked, and it went absolutely nowhere. In truth, I couldn't tell you if I even ever got around to uploading any music for Eno to theoretically review. If that had happened, who knows what interests I would have taken in music. My grunge-inspired teen angst would certainly not have been received well by the god of ambient music. And negative feedback at that volatile time in my life could have instilled in me a permanent aversion to Eno's snooty sounds.

Thankfully, nothing went down that way. My tastes in music have continually evolved, and my appreciation for John Cage's aleatoric music and Brian Eno's Oblique Strategies methodologies have rooted my endless fascination with new sounds. The ambient and minimalist compositions of Eno, Harold Budd, Erik Satie, Moby, Steve Roach, and Klaus Schulze are now the regnant (though often unnoticeable) backdrops to my daily activities.

By the time he released Another Green World in 1975, Eno had already established himself as a musician through Roxy Music and two other solo albums, but with each album, he further explored the ideas of ambient music. This single song, appearing near the end of side two of the record, was a landmark experimentation in minimalist soundscape, standing distinct from the other upbeat, funky riffs surrounding it.

Scrabble Value Letters (Q): Questions 67 & 68

Chicago: Questions 67 & 68
[Purchase]

I actually bought this album when it first came out. I was in a boarding school just north of Philly in the early 70s, and my friends and I would ride the train into Philadelphia and .. buy records and stuff. It's a long time back, but my recollection is that there was this place called Tower Records, not far from the train station downtown, and LP costs were something like $7.99, $8.99 ...

Chicago Transit Authority came into being during that period in American history when youth protest was almost the norm (was it only me and my friends? Is the thought of acceptable protest worth a pause in your view of history?). For various reasons, their message and sound mellowed relatively quickly. They ran into legal issues related to their use of the Chicago train system's name, and their musical sound turned more towards their harmonied horns than piercing guitar solos. However, more than one of their original songs made the "Top" lists (and obviously enough money to keep the brand name running to this day.)

There are better versions of the song out there, but I wanted one that was close to the original: "Chicago" is still touring - in one iteration or another, but it isnt the same. At least not to me.

In the linked clip above, we've got the original band including lead guitar by Terry Kath, who sadly died quite early and - if I am not mistaken - Peter Cetera doing the vocals. If the YouTube credit info is accurate, it is from their earlier days: the dancing in front of the stage as well as the costumes seem to support the time stamp!

This wouldn't normally be my first choice for a Chicago tune, but it fits the Scrabble Theme running for the next two weeks: starts with Q.

Winter Games: Curling

[purchase a book about curling strategy]

Every two years, I find myself getting into a debate about whether particular sports deserve to be in the Olympics or not. Now, I understand that every Olympic event requires some degree of skill and athletic ability, but it does somehow seem odd that there is rhythmic gymnastics, synchronized swimming, ice dancing, shooting, yachting, dressage and trampoline, but no baseball, softball, football, lacrosse, cricket or squash. And it is a travesty that tug of war was dropped after the Antwerp games in 1920. There doesn’t really seem to be any rhyme or reason to how the sports are selected, leading to interminable discussion on the issue. It reminds me of something that I recall Bill James, the great baseball sabremetrician, wrote about the Baseball Hall of Fame—essentially that the standard for election was being elected. (I have looked online for the quote, but haven’t been able to find it.)

Personally, I have a problem with judged sports because the standards are so arbitrary, and the judging is always so controversial. I understand sports where the first person across the line wins, and those where the team with the most points comes in first. You don’t lose the downhill because you looked awkward. No one says that a particular goal is worth more because it was scored after a spinning move, or less because it was accidentally scuffed in. I know that all sports have judges, refs or umps, but they enforce rules, not decide artistic merit, which is and of itself is subjective.

So, based on my criteria alone, curling is a very worthwhile sport. There is a scoring system based on points, there is no artistic judging, and it even has a tradition of sportsmanship that exceeds many others. It requires incredible strategy, practice and skill, and athletic ability. On the other hand, it is not the most popular sport around, and, worse, it is reminiscent of a game played by retirees at the Del Boca Vista. Every 4 years, I watch, fascinated, at the games, learning again what the “button” is, why the “hammer” is so important, and how to determine “shot rock.” Not to mention, I like saying “bonspiel.” I can’t seem to figure out the strategy though--to make another Seinfeld reference, they always do the opposite of what I think.

You wouldn’t think that curling would inspire many songs, but you would be wrong. Here’s a link to “Ten Great Curling Songs,” including the one in the video above. And here’s another. And another. There’s even a book called “Curling Songs and Poems.” Poems!! And if that isn’t enough, here’s an epic ten and a half minute video for a song by LMFAO all about curling—even if they don’t get all of the rules right.

 

Winter Games: Snow Brigade

Mew singer Jonas Bjerre. Photo Credit Bill Ebbesen 

"Snow Brigade" fan music video.

Mew: Snow Brigade
[purchase]


This song is always the first that comes to mind when I think of snow songs. I have to admit, that's not very often, nor had I ever even considered the existence of a genre such as "winter pop" until I scoured the internet comments and forums for discussion of this song.

The ever-enlightened, scholarly groupmind of SongMeanings repeatedly amuses a connection to cocaine, but I can't find anything in the lyrics that clearly prompts such an interpretation on a basic level. With hints of depression, failed communications, a frustrating relationship, and the importance of the season's change, this song is an unreceived broadcast to a partner with Seasonal Affective Disorder.

Mew's homeland of Denmark has a relatively cool climate with heavy, wet winters, during which the daylight time dwindles to just about seven hours—not nearly long enough to even get to enjoy a single, cold moment of sunshine for those of us running on U.S. cubicle work hours. Seasonal Affective Disorder can carry a person's mood quickly into a new personality, a slow shift that grinds the gears of a relationship's communications.

"In winter you're an affliction," the singer of this song tells their partner. There's an argument brewing. Jealous accusations of new interests and demands for evidence. "Enable [me] to bring out the something you want to know beneath the snow," the singer tells the accuser. "Bring out the someone you want to see for jealousy."

Things end on a sour note. The singer's "arms retreat," as the option of immediate reconciliation fades, and the only option is to try again on another day: "I'll find you somewhere / show you how much I care / know that there is no / escape from my snow brigade."

This was the first Mew song I ever heard, and it turned me instantly into a fan. Although the album I've most fallen in love with (2009's No More Stories Are Told Today I'm Sorry They Washed Away No More Stories The World Is Grey I'm Tired Let's Wash Away) sounds very little like other entries to their catalogue—including this song—both styles fit with their own moods, allowing me to enjoy Mew on even more occasions.

Singer Jonas Bjerre's voice carries the same shrill, tenuous beauty of a tightly-tuned violin string, simultaneously raising the listener's hackles and petting them on the head. This is undoubtedly the first thing that catches the newcomer's ears, but underlying musical experimentations that combine, at times, elements of progressive metal, ambient, noise, and indie pop should not go unappreciated.

Capable of producing albums of catchy singles, like 2003's Frengers, Mew also demonstrates clear understanding of the capability of the album itself as a limit, as No More Stories... and their 2005 album And the Glass Handed Kites both construct single-song façades through the use of song transitions and titular divisions.

Taking theme to the screen as well, Mew enlisted the aid of director Martin de Thurah to deliver a trio of music videos for singles on their release of No More Stories...: "Introducing Palace Players," "Repeaterbeater," and "Beach."

Winter Games: Hockey Skates

Kathleen Edwards: Hockey Skates
[purchase]

It’s not that I don’t like hockey, but I just never got into the habit of watching it. I grew up watching baseball, basketball and football, and hockey wasn’t something that we followed in our house, although my father tells stories about going to the old Madison Square Garden when he was in high school to watch double headers for like a nickel. When I do watch hockey, I recognize that it is exciting, and the few games I have been to are great, and I find that I enjoy the games best during the playoffs, or the Olympics, when fighting takes a back seat to skating. Of course, I was very excited by the “Miracle on Ice” (which you should read about here). And I loved Slap Shot. Hockey may also be the sport that benefits the most from HDTV, because you can actually follow the puck.

My siblings and I all grew up in the same house, and while my brother and I became rabid sports fans, my sister never got the bug. I have no idea if my parents did anything differently to cause that, but I have found that my daughter is less of a sports fan than my son (except, to some degree, when it comes to soccer). But life has a way of throwing curves (to use a baseball metaphor, because I’m not familiar enough with hockey to know if there is a similar hockey phrase), and my sister has a boyfriend who is a rabid hockey fan and a son who is less interested in sports than her daughter. Seeing pictures on Facebook of my sister in a Rangers jersey at a game has brought me much amusement. But it is important in a relationship to support your partner’s interests, which is why my wife has found herself at more Mets games than I think she ever anticipated, and I have certainly seen more choral music than I ever imagined.

Of course, if you are Canadian, hockey is ingrained in your culture. It is actually the state religion, set forth in the Constitution (no, it isn’t). And it is not surprising that Canadian singer Kathleen Edwards uses hockey references even in songs that aren’t about hockey at all. Often compared to Lucinda Williams due to the similar quality of their songwriting, their twangy sound, and less than perfect voices, Edwards is a great talent in her own right. In the song “Hockey Skates,” Edwards’ narrator describes an unsatisfactory relationship and says, with resignation,

I am so sick of consequence and the look on your face 
I am tired of playing defense 
I don't even have hockey skates 

You don’t have to be Don Cherry to understand what she means.

Another great Edwards song that references hockey without being about hockey is “I Make the Dough, You Get the Glory,” in which the narrator unfavorably compares herself to her fellow band member with a series of clever comparisons—

You're cool and cred like Fogerty I'm Elvis Presley in the 70's 
You're Chateauneuf, I'm Yellow Label 
You're the buffet, I'm just the table 
I'm a Ford Tempo, you're a Maserati 
You're the Great One, I'm Marty McSorley 
You're the Concorde, I'm economy. 

Here, she is comparing herself not to the all-time great Wayne Gretzky, but to his teammate, the grinding enforcer, McSorley. The video for this song is fun, and features a hockey match that includes Edwards, members of her band, Blue Rodeo singer Jim Cuddy, former NHL players Paul Coffey and Brad Dalgarno, and, yes, Marty McSorley.