Anniversary: David Lindley again

Click the pic above (or the link  at the bottom/below) for the music
[Purchase song @ amazon: El Rayo X]

Like JDavid, I am a relative new-comer. If I don’t dis-remember, I ran across boyhowdy’s personal site (coverlaydown) before I discovered StarMaker. My communication with him led me to my current role:  when Darius pulled back, I somehow ended up managing SMM – with major support from J David. (Obvious, ain’t it? Who else has posted most of the recent material?)

Several of the SMM bloggers are one-time radio DJs - often from their days in college. I am no different. Way back in the 70’s, I did a middle-of-the-night slot at WQFS out of Greensboro, NC. Some of the SMM bloggers are musicians themselves: 2-3 times a year I myself take the stage to a captive audience. In one form or another, all SMMers “live” for the music.

At about the time I took on the admin role, SMM was reeling from legal restrictions: many of us used to post links to MP3 files hosted in various personally controlled online resources and outside pressures had made hosting mp3s impossible. Despite the blog’s policy of “..[we] post only one song per album for a limited time  … and will take it down…” , many of the 30 plus bloggers from 2 years ago have moved on.  The number of bloggers had seriously dropped off by the time I took over from Darius and most of the links to songs had become YouTube videos.  Speaking of which, I work and write from Turkey, where the powers that be have recently blocked tweets and “the tube” – if you follow international news, you must know. (I hope my link below works, since I had to search and access it using devious/outlawed means.)

The mission of SMM, as I understood it, was that the bloggers posted links to music and associated commentary that would drive the audience to further engagement. It is for this reason that the top of each post includes a [purchase] link.

The right side of the blog notes that we are always looking for additions. Let me put it in the middle of the page: if you have an interest in joining the ranks of bloggers, follow the link, top right, and email smmmod2000@gmail.com. We’d be glad to have you on board.

As to “going deeper” - our current theme: I am an inveterate fan of Ryland P Cooder, and it was through his music that I learned about the Cuban music scene. It was through his music that I learned about David Lindley. Nigh on a year ago, I posted about one of his pieces.

Never much of a front-man himself, Lindley has played second fiddle for a number of other folk. Once, previously, in our “work” theme, I posted his rendition of “Do You Want My Job”, a wonderfully island-lilting piece with a message for our times. From his “El-Rayo-X” here is the title track with Jackson Browne:

https://www.youtube.com/watch?v=AkU78moGmcg

ANNIVERSARY GO DEEPER : CHRISTMAS

Blimey, fab historical bio below, enjoyed that. Me, too, I 'm a newbie of not even 12 months standing, tho' my anniversary must be coming up soon. I remember well what first attracted my attention, nearly three and a half  years ago, and why. I had been tasked with researching a Christmas playlist, and, rather than the usual Now That's What I call Xmas fare from all the usual usual, or even just good old Phil Spector, I took the job way too seriously, spending hours and days, scouring the interweb, scooting from blog to blog, hoovering up tracks. Of course, the fact that you could, in those innocent days, download directly, was a distinct bonus, even if you had to delete responsibly after a research and review single listen. (Yeah, right) Christmas 2010 was a riot, tho' my family and guests were exhausted after 6 full days of continuous listening.(Did you know quite how many versions of Daddy, Please Don't Get Drunk This Christmas there are?). This was my first foray to this site, although I then had to plough back through as far as I could muster my strength for, whether Xmas or not, being ecumenically scruple free. (Took bloody ages, to say nothing of the blogs of the associated and kin, listed alongside, some of which continue, many of which don't. Somehow I feel some advertorial coming on coming on for Boy Howdy, nominally still in our band of sixsongs merry pranksters, tho' increasingly quiet, a dude who has introduced me to more music than perhaps anyone I can think of. Thanks, BH. Will we be seeing you at this party?)

So, 22/12/2010, Vince Guaraldi Trio. What more can I tell you? Precious little in fact. I don't even believe I
DLed, but the other song is accessible here. (With baited breath I found the original page and tried to DL from there, but the wretched mediafire blurb about why, blah, blah, blah came up on trying.) Is it a good song? I suppose it depends on your mindset. Rock and roll, it ain't, in lyric or melody, but I have increasingly become a sucker for Mrs Costello and her ilk, exemplary female crooning, with a sympatico piano. Humbug, say you? Fie on you. Christmas ain't Christmas unless it got cheese, preferably a good stilton. Even at the end of March.

Buy it!

I'm supposed to be digging deeper into the artist or the song, and, to be fair, I'm struggling. Anyone can look up wiki and I have little to add to their versions of the truth. So I'm instead going to return to my earlier mention of the drunken daddy. This song was written by a Bill Danoff and a Taffy Nivert , no, me neither, and seems to have first appeared on a John Denver 1975 xmas album, Farewell, Andromeda, and was also the 3rd of 3 singles therefrom, reaching 69 in both the popular music and the country chart. Here's his version, which fails to cut any mustard for me, being an entirely straight (faced) rendition. Better by far, IMHO, is this one, performed by Colin Meloy and his estimable Decemberists. At face value it is every bit as straitlaced, yet somehow has me imagining tongues firmly in cheeks, albeit with reverence. This band, from Portland, have been slowly cranking up a fanbase over 14 or so years, pulling the wool between diverse folky-country powerpop and ballads, with Mr Meloys marmite voice holding it together, often ably abetted by female guest voices, including Laura Veirs, Petra Haden and Sara Watkins, amongst others, not forgetting Gillian Welch. The setting is often staunchly traditional, with string and bellows evident as much as electricity.
I'm uncertain if they have featured before, but, maybe in 8 years time, when someone retrospectivises this day.

Buy it (Denver)

Buy it (Decemberists)

Until then, SMM, many happy returns. And thanks for having me!

Anniversary:Go Deeper-Sunday Morning

The Velvet Underground: Sunday Morning
[purchase]

I’ve only been writing for Star Maker Machine for a little more than two years, but I was a reader for some time before that. I’ve long appreciated the breadth of the music discussed here and the knowledge and writing skill of many of the contributors, many who have unfortunately long stopped contributing to this blog. I’ve followed some of these writers to their personal blogs, and have enjoyed learning from them. I may not be the best person to write about the history of SMM, and I hope that some of the writers who have been involved here longer can fill in the gaps in my knowledge, but I’m going to kick things off, as we look back before we move forward.

From what I can tell, this blog was started by a guy named Paul under the name “Six Songs.” The first post was on February 6, 2008, and the concept was that Paul was going to post a song six days a week, hoping to engage readers to create a conversation in the comments. The first song he posted was Emmitt Rhodes’ “With My Face on the Floor.” But on March 23, 2008, Paul posted “We’re Taking a Break,” writing:

“Posting a new song everyday is surprisingly stressful, even with the Sunday rest. So we're off for some R&R. We may be back with a new format.”

Four days later, Paul teased the blogosphere with the announcement that he had come up with a new concept, and, on March 28, 2008, he announced the new name, “Star Maker Machine,” posting a picture of Joni Mitchell, and the song “Free Man in Paris,” from whence the blog name came. And then, on March 29, 2008, Paul announced the new concept—that he would open the blog up to writers who wanted to post about music, without necessarily starting their own blog. And, in essence, the SMM journey began.

On April 5, 2008, in a nod to the original “daily song” roots of the blog, Paul announced the first theme, “Days of the Week.” The first song that Paul posted was “Sunday Morning,” by Margo Guryan. I wanted to “go deeper” with that song, for historical reasons, but, frankly, it doesn’t speak to me, even though the album that it comes from, Take a Picture, was described by Allmusic as “one of the most exquisite and appealing, if little heard, one-shot "California" (although actually recorded on the East Coast) soft-pop gems of the kaleidoscopic late '60s.” So, instead, I decided to discuss the different Velvet Underground song, with the same title, which was also fleetingly mentioned on SMM back on April 3, 2010. (I also thought about writing about the SCTV soap opera parody, but decided against it.)

When you think of the Velvet Underground, you think of dark themes, drugs, and kinky sex. You think of Lou Reed’s twisted, literate brilliance, John Cale’s unusual arrangements and instrumentation and Andy Warhol’s peculiar Warholness. “Sunday Morning” is a little different. The last song recorded for the band’s debut, The Velvet Underground and Nico, it was the leadoff track, and an attempt to create a hit single. On an album that included songs like “Heroin,” “I’m Waiting for the Man,” “Black Angel Death Song” and “Venus in Furs,” “Sunday Morning” sounds almost benign and friendly, although there is still an unsettling question about what happened the Saturday night before. It was originally going to be sung by Nico, the German singer who was shoehorned into the band by Warhol, but instead Reed took the lead. The song also features a prominent celesta part, played by Cale on an instrument he happened to find in the studio, which makes the song sound strangely happy.

After the first post, Star Maker Machine slowly began to engage other writers and commenters. It appears that Paul stopped writing for the blog in October, 2008, after posting a Pete Townshend demo of “We Won’t Get Fooled Again,” in a piece entitled “Meet the New Boss, Same as the Old Boss,” to focus on a personal music blog, “Setting the Woods on Fire,” but it appears that blog is also defunct.

As we move forward with Star Maker Machine, we hope to continue to engage, interest and amuse our readers, and maybe lead them to new musical discoveries.

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.